Director Anthony Ramos joins his good friend, painter Frederick J. Brown, on a trip to Beijing for a retrospective of Brown’s work at the National Museum of China in Tiananmen Square in 1988, the first retrospective of an American artist in China.
Anthony Ramos
as
Frederick J. Brown
A portrait of Nam June Paik produced as a 'video catalog' for the exhibition 'The Electronic Super Highway', which premiered at The Museum of Art in Fort Lauderdale, Florida, with recent installations, historical background and interviews.
A Bunch of Questions with No Answers (2025) is a 23-hour film by artists Alex Reynolds and Robert M. Ochshorn. Compiled entirely from questions posed by journalists at U.S. State Department press briefings between October 3, 2023, and the end of the Biden administration, the work removes the officials’ answers, leaving only the unresolved demands for clarity and accountability.
One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.
A spectral first-person journey through Los Angeles layers the city across itself as our guide disassociates, giving way to an abstracted daytime ghost story following a woman's splitting of self and perception. ANGEL PROJECT continues.
Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
Ted Hughes's 1993 novel The Iron Woman is the springboard for this multi-media project by Mikhail Karikis. The video section of the installation features seven-year-olds from Mayflower Primary School in East London discussing the novel's environmental themes.
This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.
Furio’s Furious Fragments & Friends - Furio Jesi (1941 Turin -1980 Genoa), enfant prodige moving between a plethora of disciplines – egyptology, history of religions, German philology, literary criticism - passed away prematurely, not without leaving bright fragments which throw light on mechanisms beneath many socio-cultural practices, for instance regarding cultural belonging, the functions of myth in modern society. He saw kind of “mythological machines” at work underneath our cultural production of meanings, historically determined, departing from a void, something that is still in culture but as residue, a missing link to an alleged authentic experience nowadays compromised up to the point to became just rhetoric, a byword, which is in no way neutral, but a tool, a macchina, for maintaining the status quo and serving the power apparatus. As in the case of holidays, celebrations and festivals.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV. Whereas The Pain Factory predominantly revolved around experimental music performances, Fuck TV was a comprehensive and experiential audio-visual presentation. Aired to a passive and unsuspecting audience on San Francisco’s public access channel from 1997 to 1998, each episode of Fuck TV was dedicated to a specific topic, combining video collage and cut-up techniques set to a harsh electronic soundtrack. The resultant overload of processed imagery and visceral sound was unlike anything presented on television before or since. EPISODES: Yule Bible, Cults, Riots, Animals, Executions, Static, Media, Haterella (edited version), Self Annihilation Live, Electricity.
A group of hometown friends come together after the loss of a loved one.
A collection of 8mm film reels from İlhan Mimaroğlu’s archive—once tucked away in whisky boxes—has found new life through art. Curated by director Serdar Kökçeoğlu and producer Dilek Aydın, the project brings together visual artists and musicians to reimagine these long-lost images. Over thirty artists transformed the footage into fifteen distinct audiovisual pieces, blending experimental soundscapes with contemporary video art. The project concludes with a special highlight: the first-ever screening of Mimaroğlu’s silent short film about a street jazz festival, accompanied by Erdem Helvacıoğlu’s dark jazz score.
A continuously running two-channel installation, presented on 9" and 13" CRT monitors atop pedestals and overlooked by a green Kit-Cat clock. The smaller CRT bears a painted green square and is framed by a pair of crossed silver opera gloves, at whose intersection rests a vintage push-puppet of two boxers sharing a single red stand. Together, the two monitors display distinct video collages interweaving footage from Emerald Square Mall and the strike during its 1989 construction with remixed interferences from Channel J's Emerald City TV (1976–1979), Huge Video's Heat in the Night (1989), Genet's Un Chant d'Amour (1950), various cigarette commercials, The Wizard of Oz (1939), and a performance of a mylar-clad entity wrapping one of the televisions in videotape. The work has most frequently circulated publicly through its primary video channel.
On the occasion of the Taipei Biennale, Me, my friends and my gallerist went to Taipei city, then found mere materials in daily use which is you can easily find in most of asian city. We were collecting the moment of improvised "performance" with those objects to activate possibility of how we could see things differently. Originally made in 2006 for the installation version. And in 2007 I edited it into single channel.
IDFA and Canadian filmmaker Peter Wintonick had a close relationship for decades. He was a hard worker and often far from home, visiting festivals around the world. In 2013, he died after a short illness. His daughter Mira was left behind with a whole lot of questions, and a box full of videotapes that Wintonick shot for his Utopia project. She resolved to investigate what sort of film he envisaged, and to complete it for him.
Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.
