This video shows the design and choreography of Eiko's three-channel installation on one screen. Each video was shot in California by Alexis Moh and Marjorie Hunt during a creative residency at UCLA in April 2019. 

My Mother Married Wilbur Stump is a video family album compiled by Skip Sweeney, a founder of San Francisco’s Video Free America, an alternative media facility. The video documents a discussion between the artist, his mother, and sister ab

To the background of village celebrations a father questions his daughter about a suspected lover. She cleverly deflects him with her answers but the passions rise, the villagers take sides and what began as harmless banter becomes bitter and angry.

In Dry Blood (Sagre Seca), various historical moments of political activism in Mexico are superimposed and corroded on the emulsion of expired film.

This tape, Harriet, created by Videofreex member Nancy Cain, unfolds much like a short play or literary character study.

That Which Is Possible is a portrait of a community of painters, sculptors, musicians and writers making work at the Living Museum, an art-space on the grounds of a large state-run psychiatric facility in Queens, New York.

Actions speed up, slow down, and run at regular speed. The usual props are there, as is a wet dog. Subtle nuances are revealed as the behavior of the anxiety-laden protagonists is rendered, for once, in real-time.

Madi plays an interactive on-line computer game in the privacy of her apartment.

An example of what Reeves terms “video poetics,” layered images of a deserted village in the Spanish countryside play counterpoint to poetry by Cesar Vallejo and Pablo Neruda.

Filled to capacity, each car of a 157 car train sounds a percussive note in this homage to John Coltrane. And not one coal train, but two.

Mohamed Yousry: A Life Stands Still (also known as Good Translator) is a short documentary about Mohamed Yousry, a naturalized American citizen who's life changed radically after September 11, 2001.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood.

Following the premise that water will always find its level, the term Communicating Vessels describes the way liquid moves between conjoined containers: gravity and pressure conspire to keep the surfaces aligned, pulling the shared liquid back and forth

Taped shortly after the creation of the Air Gallery, this conversation between painter Howardena Pindell and Hermine Freed concerns the women’s independent gallery and its role in the feminist movement.

In 1998 I made a sculpture of a decapitated head. I featured it in a photo and video. I thought of the head as a character whose adventures would be documented.

Blind man: “It is bad to be alone.”

The Creature: “Alone, bad.”

—The Bride of Frankenstein

It can be so bad to be alone that even an artificial heat is better than none.

A series of numbers that form infamous years that are uttered in a repetitive pedagogical litany. Ominous dates as a correlate of forgotten apolitical portraits. Portraits of a remembered royalty whose wealth was made possible by infamous times.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

In a conversation with one of the Hells Angels at a party the motorcycle gang has thrown in Manhattan, the interviewee introduces “Kenny, from the Videofreex” to his friends, commenting (presumably explaining the Videofreex project): “like low class soc

The latest in Muntadas and Reese's series documenting the selling of the American presidency features political ads from the 1950s to ads from the 2012 campaigns, and highlights the development of the political strategy and marketing techniques of the T

Standing on the brink of elimination, the suspense threatening to fracture their composure, contestants wait and see if they will be going home. The audience at home is also waiting... Part two of Bearing Witness Trilogy.

Interviewed by Colin Westerbeck.

A historical interview originally recorded in 1987.

Oral Fixations is a single channel video installation that evolves over a seven hour time period. The project is a darkly humorous look at a habit of endless consumption and the resulting accumulation of waste.

2 Spellbound is a frame-by-frame re-editing of Alfred Hitchcock’s 111-minute psychoanalytic thriller (1945) into a seven-and-a-half-minute dance video.

“Hey, how’s that TV work?” 

A pro-domme gives her friend a freshly shaved head. In return she gets a buzz cut. A client gets to be a (bound) fly on the wall.

Wittnerchrome, Exacto Knife, Typewriter

Rust was commissioned by the American Dance Festival and performed on chain-link fences hung vertically in the center of the stage. Performed nude in silence.

A Second Quarter is decidedly European; the “place” (Berlin) is the catalyst for the “action” (the work). The works recited in the film are concerned with barriers and borders, physical and geophysical phenomena.

Slogans is a visual deconstruction of advertising slogans, a literal and metaphorical illustration of the disintegration and loss of meaning in the contemporary media landscape.

El jardín del amor (The garden of love) is a celebration of life and love, religious ecstasy, where animals, humans and nature coexist in harmony.

In this 2001 interview, filmmaker Jem Cohen discusses the origins of his film philosophy, and the circuitous route he has taken in his pursuit of an anti-narrative film practice outside the mainstream. Cohen sheds light on the many influences that have impacted his sentiments towards conventional film, and his desire to eschew both classical avant-garde and theatrical filmmaking in favor of a model rooted in the tradition of the 1940s New York School of street photography. Cohen also locates his aesthetic as being impacted by the 1970s hardcore and DIY scenes he was exposed to as a youth in Washington, DC.

Video artist meets a handsome and enigmatic Marlboro Man; video artist gets a sexually transmitted disease.

After the screening of his film Wai'á rini, the power of dream in other Xavante villages, the people of Aldeia Nova from the São Marcos reservation asked Divino to make a film on the same ritual, the Wai'á ceremony.

I just got this tattoo — you can see it's still healing, the edges are raised like some sort of fancy business card — to mark the completion of this, Series One of my on-going project, Final Thoughts.

Andres Serrano was born and raised in New York. At fifteen he dropped out of high school. A few years later he attended the Brooklyn Museum School and studied painting and sculpture.

As recent state cut-backs force many mental patients out into the real world, Tony Oursler and Joe Gibbons team up to address psychiatric deinstitutionalization from a comic angle.

The Videofreex tape a group of young people working on a farm run by Chris Locke and his wife in Shandaken, NY.  After learning how to take care of the chickens, they are taught how to kill and pluck one.  Later they sit down for a communal di

A fragmented puzzle of a sinister narrative turned inside out and comprised of digital video, digital video animation, and Super-8, with model animation and human pixelation.

An island. A mountain. A City of Angels who scoop up the pellets dropped by other winged creatures.

This title is also available on The World of George Kuchar.

It is a tribute of hyperkinetic colors to the Chilean poet Vicente Huidobro in times of pandemic vortex and post-Cubist quarantine. This is Altazor's color drop. Part of the Harmonic and Hyperkinetic Color Film Series.

Sections 1-30 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.

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.

In Woodstock Festival 1969: First Aid, the Videofreex interview visitors and volunteers in and around the first aid tent about the level of health and hygiene at Woodstock.

Blood and Guts in High School features actress Stephanie Vella in a series of video installations* that re-imagine punk-feminist icon Kathy Acker's book of the same title.

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

Sites Unseen is a 16mm film of the Jewish cemetery in Warsaw, a photograph of a great Aunt who died in Treblinka, and my late grandmother eating her morning cornflakes.

Music by Zeena Parkins

A fast-talking and fabulous teen recounts his experiences as an out and loud Toronto queer.

The interior of a trash processing plant. The rhythmic intensity of the machinery as it deals with an endless river of refuse becomes a reflection on the madness of unbridled consumption. 

A newly re-mastered collection of 17 vignettes and performances to camera, produced during 1974-75. Some use props and sight gags to preposterous effect; others star Man Ray, lapping milk from a glass, stopping marbles and dropping balls.