Performance

2000
Donigan Cumming Videoworks: Volume 2

In these two videos, Cumming investigates the worlds of a pair of abject heroes, Colin and Pierre, one a recovering alcoholic, the other an addict. One talks angrily about his former addiction and of the sacrifices he made for the “romance” of a life on the street. The other has lost everything in the name of love, and now tells the tale in a manner both tragic and comedic.

 

2001
Donigan Cumming Videoworks: Volume 3

Three short pieces highlighting how difficult it is to create images that make sense in a world where everything is flawed and everything has already been said.

1999
Cumming, Donigan: Four Short Pieces

Four short pieces: three featuring anecdotes and conversations, the fourth an icy landscape.

1977
Pere Bode, Cup Mix (2 Channels)

"A cup and saucer, pouring and drinking coffee, a duration ritual of contemplation and invigoration, doubled (tape copied), mixed, keyed + synthetic color, normal play and rewinding, sync events, the opening of a space to put the self in. 1/2 inch b+w Portapack, 2 reel to reel video tape decks, David Jones keyer and colorizer."

– Peer Bode

1979
Barbara Aronofsky Latham, Curtain: An Untold Story

In this video, the unseen narrator describes her inability to communicate to the camera what she wants to say and to whom she wants to say it. The curtain is the central metaphor for the piece, representing how Latham hides behind the video medium, as well as how the medium presents an obstacle to the artist, functioning as a cumbersome intermediary to expression.

This title is also available on Barbara Latham Videoworks: Volume 1.

1996
Cut the Parrot

The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall. Cut the Parrot is three grotesque comedies in one: the stories of Gerry, Susan, and Albert. Songs of hope and heartbreak spill from the mouths of the performers. The order of impersonation rules.

2013
Vaginal Davis: An Interview

In this interview, American artist, independent curator, writer, and experimental filmmaker, Vaginal Davis reflects on her initiation into the punk rock and art scenes of Los Angeles during the 1980s and 90s, her stylistic influences, and her ongoing efforts to theorize queerness and visuality. Caught between the opposing poles of Hollywood classicism and the rawness of punk, Davis defines her unapologetically gender-bending, campy, and at times aggressively critical performances as scenarios, rather than spectacles or entertainment.

1988
Dear Dennis

Susan Mogul's fantasies of success have always a comic, congenial twist, as in Dear Dennis, a video letter to Dennis Hopper inspired by her discovery that they share the same dentist. The central irony of this witty piece is that, despite Hopper's popular persona as an innovative, sub-cultural filmmaker and performer, the actual distance between his so-called independent" films and Mogul's experimental, non-commercial videos prevents Susan from finding any common ground from which to address Hopper other than the subject of dental work.

2005
A Declaration of Poetic Disobediance

As a "Post-Mexican” performance artist operating out of the US for over 20 years, one of my conceptual obsessions has been to constantly reposition myself within the hegemonic maps. Whether this map is the Americas, the larger cartography of art, or my personal biography, one of my jobs has been to move around, cross dangerous borders, disappear and reappear somewhere else, and in the process create "imaginary cartographies” capable of containing the complexities of my multiple and ever-changing identities, voices, communities and performative bodies.

1996
Teddy Dibble Videoworks: Volume 1

This compilation contains many of Teddy Dibble’s best comic vignettes. Everything is up for grabs in these visual and linguistic puns, including video dating, telephone operators, New Years Eve celebrations, fruit, and the theory of evolution.

2014
Die Neue Frau, Liz Rosenfeld

1933. Berlin. The last year of the Wiemar Republic. Through the lense of her personal "home movies", Leni Riefenstahl records a day in her life with a young Eva Braun.

Die Neue Frau is the third film in the The Surface Tension Trilogy, a three-part short film trilogy looking at queer artists living in Berlin during the 1920s. Shot on hand-processed 16mm film.

1973
Discrepancy

This structurally simple video, shot through Benglis's apartment window, contains a, "distinct disjuncture between the visual and aural components of the work. The viewer, initially presented with a contemplative view of nature, is frequently distracted by the chatter of a radio. As the camera zooms in and out, it establishes a dichotomy: indoors and outdoors, the man-made and the natural.

1974
Disturbances

Jonas uses reflections on a lake as a mirror to displace reality, creating a disruption and the illusion of presence.

“Disturbances begins with a Symbolist-like image of two women, dressed in white, seen only as reflections in water.… Throughout the tape the water fills the monitor, creating layers of images. The reflections on the surface of the water are superimposed on the activities that take place underneath the surface.”

1976
Do You Believe in Water?

The performers are seated around a pink octagonal table on pink, violet, and silver cinder blocks. One performer (Robert Stearns) stands up, recites the credits for the piece, and then says, “Do you believe in water? Robert Stearns.” He claps and turns to the next performer who asks the same question and gives his name. Next the players split up into pairs and attempt to relate to each other—playing tug-of-war, making love, arguing over who has the most integrity, and fighting for possession of the props.