In this video, the Videofreex host a party during which the main source of entertainment is a video-television feedback loop.

A personal interpretation of the poetry and letters of T.S. Eliot that explores the ambiguities of language and space in a scenario built around an anagram.

In the late 1960s Kim Jong Il guaranteed his succession as the Dear Leader of North Korea by adapting his father's Juche (pronounced choo-CHAY) philosophy to propaganda, film and art.

During a video workshop, the Ikpeng community decides to act out the myth of the origin of the tattooing ceremony. The mythical hero, Maragareum, dreams about the collective death of the villagers of his friend’s Eptxum’s village.

This tape features Kathryn Windham, a noted children's author and librarian from Selma, Alabama, relating a ghost story about "The Jumbo Light" at the 1974 Jonesboro Storytelling Festival.

Gautam Chatterjee uses the streets, parks, and temple grounds of the city of Varanasi, India, to teach his students a 2000-year old method of acting.

An ordinary living room with a green screen, TV, and domestic cat serves as the backdrop for this DIY introduction to experimental philosophy. The president of a company is considering a vice president's moneymaking scheme.

Animation by Dan Sandin
Algorithms by John Hart and Yumei Dang
Programming by Dan Sandin and Shalini Venkataraman 
Visionary Leadership by Tom DeFanti

A prop-filled encounter with a young fantasy filmmaker eventually becomes muffled by an earwax problem I develop; but not before the viewer is dragged through Studio 8 where my class and I are concocting a sordid, high school melodrama. 

The videos in this program invite the viewer to reconsider assumptions about regional and personal identity by offering a wide sampling of portraits: a group portrait, a street portrait, a family portrait, a self-portrait, a portrait of portraiture, and

A charred visitation with an icy language of control: "there is no room for love". Splinters of Nordic fairy tales and ecological disaster films are ground down into a prism of contradictions in this hopeful container for hopelessness.

Scenes from the Micro-War explains, "The worst of times—riots, famine, war—could be just around the next corner and, in the battle to survive, this family is going to be battle-ready from here on in." This fractured narrative follows the misadv

Increasingly invasive questions are asked of a series of lesbians, both couples and a single lesbian, to complete the Longform Lesbian Census.

A tour of literary scraps that litter the highway of lost souls in search of publications to be publicized. The crush of printed pulp as it smears its way through the various media that feed off its symbols and excesses.

Ponies discover an equine Shangri-La. The audience is introduced to a classic dance step. Chubby Checker provides the musical accompaniment.

Using the first color video camera, the artist questions where the devil might be hiding, and then takes a nighttime swim.

A personal essay about connection and disconnection, in and through different realities.

Award winning documentary filmmaker and cultural critic Joan Braderman takes a look at the National Enquirer and demolishes the newspaper's ideology and content.

Part of paraconsistent sequence series and the hauntology series.

This science fiction adventure centers on the interaction between a crew of Earthmen and their seduction by the love-hungry Amazons of the red planet, Mars.

The Palace at 4 am is the experience of a fragile palace of collisions suspended in a montage vision. A hazy patchwork of structures. The Palace becomes visible only to repeatedly collapse in a liminal interference of the absence.

This film observes six art students working in their studios in parallel. It offers a rare glimpse into the inside of art school studios.

Based on a Swedish folk tale, The Sausage tells the humorous story of two sisters, three wishes, and a calamitous obsession with a sausage.

Set in a post-industrial ‘Neverland’ of worn down row houses, looming factories, and desolate seashores, a rabble of deprived gender and age ambiguous youths explore their own vulnerabilities and put pressure on

This title is only available on Kip Fulbeck Selected Videos: Volume One.

This video is the result of many hours of object manipulation for the camera. Sound itself is an object here and so is language, as sound effects trigger an off-screen narrative and letters rain down in a thunderstorm.

Three factories. Three radically different modes of production.

HalfLifers is an ongoing collaborative project created by longtime friends and fellow media artists Torsten Zenas Burns and Anthony M. Discenza.

The Vagabond...what does he seek? - ask the River, ask the Wind - but don't ask Him!

For over two years we made it our business to document abandoned working gloves on the streets of NYC.

Long Live the New Flesh uses found footage to transmogrify existing fragments from horror films into a new video.

A cinematic place where the mountains crash into each other in a field of magma and fire. A landscape of events.

A video I made with students at the California College of Arts and Crafts.

Work, film, work, film, work – day to day – week to week. This is a home movie domestic comedy experimental film drama. Autobiography too. It’s also part four of an ever-growing trilogy.

This tape examines the meaning, impact, and future of the early-1980s avant-garde through interviews with artists (Scott B., Robert Longo, Walter Robinson, Michael Smith), an art dealer (Helene Winer, Metro Pictures), a museum director (Marcia Tucker, T

The End of Time is a choreography for two lovers, enacted by three figures. It looks at the birth and the vanishing of desire as an endless chain with successive beginnings and endings.

Putting the Balls Away is a reenactment of the historic September 21, 1973, tennis match between Billie Jean King and Bobby Riggs, created for broadcast on the 35th anniversary of the original event.

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the bur

The personal odyssey recorded in The Laughing Alligator combines methods of anthropological research with diaristic essay, mixing objective and subjective vision.

Known for his fast-paced and hilarious videos exploring Hapa identity and Asian American media portrayal, artist Kip Fulbeck has been featured on CNN, MTV and PBS.

The performance artist Stephen Varble spent the last five years of his life working on an epic, unfinished performance-turned-video titled Journey to the Sun (1978-1983).

VDB TV: Decades
1990s: The Whole World is (Still) Watching

The close collaboration between internationally celebrated artist-filmmakers Ben Rivers (Two Years at Sea) and Ben Russell (Let Each One Go Where He May) has yielded an intriguing ethno-trance aesthetic

A figure crosses, runs and flees through the cinematic space, there is no way out. The imminent catastrophe looms. With images by Dovjento and music by Stravinsky. Part of paraconsistent sequence series and the hauntology series.

"Begun in 1983 and completed in 1992, Between the Frames offers a glimpse into contemporary history that is already past, a portrait of personalities and opinions shaping what and how art reaches a public forum.

Structured on the central metaphor of Shakespeare's The Tempest, this work alludes to the position of the individual in (post) modern culture, and the tension between natural and technological power.

Urban parks consist of two major elements: nature and man-made forms. Parks play an important role in the urban environment, offering relief in everyday life.

Dan Sandin demos the Digital Image Colorizer, a digital module that was part of the analog Image Processor.

On the vast Kazakhstan Steppes, nine 16-year-olds prepare to graduate from the Akkol orphanage. Rockets launched overhead from the nearby Cosmodrome inspire their dreams as they write about and perform their imagined future-selves.

As the expansiveness of video and its accompanying new technologies continues to transform our culture and our world, another historical tension is developing—not unlike the technological revolution seen at the last turn of the century.