Archival Quality

Archival Quality is comprised of four segments. In the first, “Memorativa", powerful childhood experiences of secrets are evoked. In “Olfatus", documentation of the artist’s performances are revealed by clicking on symbols in landscape. The third segment, “Gustus", is co-named “Slices of Life, My Videotapes (1976-89)” and takes the form of a giant pizza, slices of which, when clicked, advance towards the reader. “Vermio,” the fourth segment, consists of four text-and-image collages, sections of which can be “peeled off” to reveal loops of sound and image.


This French CD-ROM is an absurd lampoon of arcade games like Mortal Kombat. Borderland is an interactive fighting game that assaults our expectations and challenges us to choose who to fight and in what context. Borderland is a multimedia project that speaks about video games and the influence of computers in peoples lives.

Kent Lambert Videoworks: Volume 1

VDB is proud to present Kent Lambert Videoworks: Volume 1. Lambert is a Chicago-based musician and media artist. His creative output primarily consists of vocal driven art-pop music and pop-inflected video art made from repurposed industrial and commercial media. This comprehensive collection of his works reflect, critique and ultimately transcend American zeitgeists and Lambert's own consumption within them.

Marisa Olson: An Interview

Growing up in the early computer age, around machines like the Commodore 64, had a formative effect on Marisa Olson and her subsequent artistic career. Now operating across a diverse spectrum of media including video, performance, and even the internet itself, she creates work that simultaneously comments upon and instrumentalizes the potential of digital machines as well as the global networks they’re linked to. However, her work is not circumscribed within the boundaries of these systems’ technical specificity.

Kent Lambert "Security Anthem"

Security Anthem’s requisite components came together relatively slowly. I’d known for years that I wanted to make something out of the Oto speakers’ most sinister, suggestive sentences. I’d taught myself to program music on a Game Boy using a cartridge I’d bought from a Swedish programmer, and I composed a sequence of ominous music that seemed well-matched to the speakers. I’d recorded John Ashcroft singing his self-penned song “Let the Eagle Soar” through a media player window, and I knew that it somehow belonged with the speakers and the 8-bit music.

Ryan Trecartin: An Interview

In this interview, Los Angeles-based artist and filmmaker Ryan Trecartin (b. 1981) discusses his personal interests and motivations, as well as the larger cultural and philosophical concerns that shape his videos and their reception. Trecartin is known for his construction of non-linear narratives, campy costumes, and excessively visceral characters and environments. One of the most compelling aspects of this interview is his insistence that language and its verbal articulation, rather than the visual, anchor his process. Trecartin identifies the influences of 1990s retro-rave culture, hip-hop videos, and editing software tools on his work. He notes that the accelerated disintegration of high and low culture has played a major part in his growth as an artist.