Sexuality

1987
Girl's Celebration

Chief Pedro Mãmãindê (who directed the proceedings and the shoot itself) describes the necessity of strengthening the girls of his village by secluding them after their first menses. After several months, the village throws a party, with singing, feasting, and the ritual abduction of the girl by an allied village. When the Nambiquara of Mato Grosso see videotape of themselves performing this ritual, the excess of Western clothing makes them uncomfortable. The ritual is then re-enacted with traditional body painting and adornment.

1981
Grand Mal

"Oursler’s thematic concerns betray classic Freudian anxieties about sex and death. In Grand Mal, the hero takes a convoluted odyssey through a landscape of disturbing experiences. The video’s free association includes, "digressions about the difference between salt and sugar and a version of the creation myth that is both banal and terrifying."

— Christine Tamblyn, “Art Notes,” Scan (November/December 1981)

2007
Gravity

Gravity is a long passionate film kiss in which kissing scenes from different films are woven in each-other by switching every three frames between two scenes. Deep passion becomes a stranglehold as cinematographic high points pile up. The reassuring world of multiplied cinematographic kisses is shattered by a stroboscopic effect that plunges and looses us into the dizzying vertigo of the embrace where, as often in Provost’s cinema, love becomes a passionate battle in which monsters are finally unmasked.

2001
Grip of the Gorgon

The snake-haired sisters of old legend are alive and well in Manhattan... Well, sort of. And yes, kind of turning parts of men hard like stone... but one of them is frustrated and getting desperate.

2012
Half-Lies: The Videoworks of Ximena Cuevas

Video Data Bank is proud to present the wonderful work of prolific video artist Ximena Cuevas in our latest DVD box set, Half-Lies: The Videoworks of Ximena Cuevas. This four volume box set features 25 videos by the award-winning artist, spanning 21 years, and is accompanied by a 75-page booklet containing the following essays that examine aspects of Cuevas’s work: 

1999
Handy Man

Handy Man examines the window as a site of voyeurism and surveillance. With his Hi-8 camera, Henricks documents two workers in his interior courtyard. The camerawork has a secretive and furtive feel, treating the male body as an erotic object. This footage forms the basis of a video which attempts to implicate the viewer in processes of exhibitionism and image fetishization. Handy Man is part of a trilogy of works exploring one of the principle metaphors of video: the window.

2015

“A soldier’s trip to Syria is complicated when he accidentally impregnates a friend. Meanwhile, a horse breeder from Ohio is driven away from home by her own desire to become pregnant. In Hard as Opal the lines between truth and fiction, fact and fantasy, are reined in and treated not as fixed, divisive markers but as malleable threads of narrative potential. Buckhiester and Leventhal perform alongside other non-actors who are filmed in their own varying domestic and professional environments.

2000
Heal Me

A woman is standing barefoot on a tile floor.  In slow motion, the investigative camera circles around her.  Her breasts are bared and liquid runs down her legs.  Bit by bit, every part of her body is shown, except her face, which remains hidden behind her hair.  The camera besets the woman, who remains silent.

This title is also available on Hester Scheurwater Videoworks: Volume 1.

2001
Nelson Henricks Videoworks: Volume 2

Three of these four works form a trilogy that explores one of the principle metaphors of video: the window. The window is used to examine notions of knowledge, voyeurism, surveillance and time. In addition, Crush is a reflection on identity, what it means to be human.

 

2001
Her + Him VAN LEO

A portrait of a studio photographer, Her + Him VAN LEO also examines the photography of the 1940s and 50s from a critical perspective rather than a nostalgic one. This documentary utilizes traditional portrait photography and video in a dialogue between two media: crafted black and white print, and the electronically colored and manipulated screen. This dialog comments on the transformations in art practices and terminologies, and evokes some of the social/urban/political transformations that took place in Egypt over 50 years of its recent history.

2016

In the quiet pre-dawn stillness, a boy gives 'voice' to his soul.

2001
HOSTAGETHE

Hostage: The Bachar tapes (English Version) is an experimental documentary about "The Western Hostage Crisis." The crisis refers to the abduction and detention of Westerners like Terry Anderson, and Terry Waite in Lebanon in the 80s and early 90s by "Islamic militants." This episode directly and indirectly consumed Lebanese, U.S., French, and British political and public life, and precipitated a number of high-profile political scandals like the Iran-Contra affair in the U.S.

2001
How I Love You

How I Love You is an exploration of sexuality among gay men in Lebanon. A couple and three individuals talk about their sex lives, about commitments and failures, about their relationships to their bodies, about their passions and love in a society where homosexuality is still punished by imprisonment. The video uses light to produce a white veil that obstructs seeing, hence rendering character identification almost impossible. Through this obstruction, the video locates itself within a specific social context. 

2001
Human Touch

A re-edit of found footage of a hunter touching the antlers of a fallen deer. Human Touch suggests an uncomfortable intimacy between hunter and prey.

This title is also available on Sterling Ruby: Interventionist Works 2001-2002.

2006
Hush-A-Bye Baby

Love and "sex" are proven to be two separate issues in this brazen world where a woman can be "Nude" but never "Naked"."