Nazlı Dinçel’s hand-made work reflects on experiences of disruption.

Dear features the interior world of two teenage Chinese girls in New York City, whose diary entries reveal their concerns related to growing up as immigrants amidst the ever-gentrifying landscape of Chinatown.

During Videofreex member David Cort's travels to Jerusalem, a scene was shot in a hospital where a female patient is having electrodes attached to her body.

A woman is lying on her back on the floor.  She seems to be tied down on the ground, but she is holding her ankles with her own hands.  She wears only tights and a pair of high-heeled red shoes.  Her hair-covered face makes her an anonymo

Playing off the notion of “interactivity”, Utopia poses itself as a video game plugged into the social consciousness of contemporary California.

Award-winning videomaker Kip Fulbeck brings his blistering pace, comedic skill, and critical eye to bear on the Hapa and Asian American male experience—parodying the relationships between sex, love, and martial arts movies.

Chuck Close (b.1940) has been a leading figure in contemporary art since the early 1970s.

Black and White Tapes derive from a series of performances Paul McCarthy undertook in his Los Angeles studio from 1970 to 1975.

How do we tell the story of a life? What cruel reduction of an image will stand (in the obituary, the family photo album, the memory of friends) for the years between a grave and a difficult birth?

River ice sets the scene for Judy Garland's international justice cri de coeur.

Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance.

Pochonovela is a bilingual, bicultural blend of Latin America’s and the United States’ most popular television genres—the telenovela and the sitcom, respectively.

A man is shot inside an empty room and he moves and takes on positions continuously out of center.

The crossword puzzle addiction.

“Levy's work is both ramified and momentous, addressing environments of many kinds, and filled with stories in which human behavior has played a decisive role.”

3 Peonies is a brief, poetic 16mm film of a simple sculptural action.

La Intolerancia en el Jardín de las Mentiras y el Pecado (The Intolerance in the Garden of Lies and Sin) recounts the rupture of the relationship between friends due to the ambition of the prized object.

The 1970s witnessed unprecedented artistic development of non-traditional media – chief among them were textiles and fabrics.

A Two Spirited woman surrounded by spy signals and psychiatric walls attempts to make sense of love, global paranoia, and her place in the history of colonialism.

Buffalo, New York, which was once a prosperous city, is home to several architectural masterpieces built in the late 19th century to the early 20th century, such as the Darwin D.

Petrolia takes its name from a redundant oil-drilling platform set in the Cromarty Firth, Scotland.

Pastures filled with the bounty of a meateater's fantasy fill the screen with bellows of bovine origin as testosterone-driven madness runs rampant on 20,000 acres of Oklahoma soil.

A rockin’ talkin’ pony and its human companion examine the evolution of Halloween games, from the ancient rite of bobbing for apples to the contemporary spectacle of American football.

In this 2014 interview, South African artist Kendell Geers (b. 1968) discusses the function of magic, myth, and memory in his work. Beginning at childhood, Geers charts the path he has taken in his understanding of his own biography as a site of resistance. This interest in the use of personal biography culminated in 1993 with his decision to change his date of birth to May 1968 as a way to reference both the May 1968 student protests, and the fact that 1993 was the first year that South Africa had participated in the Venice Biennale since 1968.

There is no better place to meet people than in the temporary community which gathers under a scant awning on a New York street in a downpour.

“The tape ultimately addresses all the big questions — death, origin and family, religion — as well as the small discomforts of the body, only to reverse their order of importance.”

Unhinging the narrative conventions and stereotypical elements of the whodunit occult thriller, Chained Reactions is an update of film noir style.

Coral is part of the harmonic and hyperkinetic colors film series. In this part the transcendental experience of his harmony leads us to an aesthetical suspension of content. Part of the Harmonic and Hyperkinetic Color Film Series.

Lines of Force opens with footage of a dramatic explosion. For most of the piece, the screen is divided, into a triptych at first, and slowly into horizontal and vertical bars.

White Sands is an experiential film installation on the visible and invisible manifestations of the nuclear industry on the land, air, water and people of New Mexico.

A Japanese student is taken by his teacher to the land down under from Frisco (LA) and gets to meet the mighty that fuel our lust for entertainment and art with gregarious gusto.

Unlike other sectors of Romanian civil society who gained status after December 1989, the gay community struggled for many more years with a legal ban imposed by a conservative political class subservient to the Orthodox Church.

An up-close compilation of interviews and discussions with people living with HIV in the early 1990s. 

Painter, Susan Rothenberg (b.1945) is known for her poetic, atmospheric images.

An experimental video about immigration.

Encompassing both Thanksgiving, Christmas and the exploding New Year's Eve celebrations, this holiday video is chock full of chicken and chatter befitting the season.

Despite assurances from local municipalities, a fact of life is that Manholes blow sky high more frequently than most people realize.

In her oft-cited essay “Video: The Aesthetics of Narcissism,” Rosalind Krauss says, “self-encapsulation — taking the body or psyche as its own surround — is everywhere to be found in the corpus of video art” (October 1, Spring 1976). This certainly applies to this early work of Hermine Freed. Utilizing a split and reversed screen, Freed faces herself, caressing and kissing her doubled image.

German filmmaker Valeska and her crew—soundwoman Constanza and cameraman Albert—arrive at Maple Tree Farm during the Thanksgiving holiday of 1971 to film a piece for German TV on the Videofreex.

The videopoem Reversed Mirror is a single-channel piece that presents a constant flow and transformation of images which oscillate and create ephemeral words, dissolving and emerging as new words.

The fourth video of the installation Touch Parade, which as a whole explores “plastic love” or fetish culture and the assimilation of marginalized sexuality on t

Part of the paraconsistent sequence series.

This video is related to Seven Years of Living Art (a seven-year performance of personal endurance Montano began in December of 1984) and adopts the Zen Chakra system of seven centers as a structuring device.

Dennis Oppenheim was a prominent figure in various art developments throughout the ’70s.

Transit journeys through the East End of London, quietly observing the shifting architectural and social landscape.

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes.

D.A.R.E. (Drug Abuse Resistance Education) is a hyper-war waged on over 20 million children in the United States. Despite overwhelming evidence of its educational ineffectiveness, D.A.R.E.

Why Not A Sparrow is about a girl who enters a fairy tale land where the distinction between human and other animal species is blurred. In this kingdom, survival and extinction are on the tip of every birds’ tongue.

In this interview, Indian artist Shuddhabrata Sengupta (b. 1968) discusses his role in the initiation of the Raqs Media Collective, a Delhi-based artist collective, active since the 1990s. At the time of this interview, Raqs had been creating documentaries, art installations, and educational programs for eighteen years. Sengupta likens the driving force of Raqs to that of a game of catch, a process generated by a back-and-forth dialogue mobilized through writing and in-person meetings. As children of the late sixties, Sengupta explains how and why the members of Raqs, (himself, Jeebesh Bagchi and Monica Narula) share an interest in investigating mass communication, technologies of visibility, and the significance of memory and travel. It is also for this reason, Sengjupta explains, that the Collective’s work is committed to fostering rigorous research in addition to art-making endeavors.

Rirkrit Tiravanija’s work explores the social role of the artist, and that role’s ability to create interactive spaces for people to come together.