Smashing Monuments
The title may evoke images of gleeful, destructive anarchism, but "smashing" here signals a relationship between people and official city statues that is friendly, jovial, even a little melancholic.
superposition
superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in Ikeda’s work for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.
Sea Body
Videoinstallation with methacrylate / no sound / 2018. Underwater Images recorded in Baja California Sur (México)
Broken Eyes
Arrancar los ojos is a project that proposes a constellation of works around the gaze and its political dimension. A reflection on the concepts of institutional violence, repression and collective trauma, focusing on the pattern of eye attacks by state security forces.
Velvet Bayou
A short film essay on Blue Velvet (1986) and The Man Who Fell to Earth (1976). The fact that Blue Velvet was almost shot in black and white is explored in comparison with the original scenes, as the choices of different directors (within a ten-year interval) when choosing Roy Orbison's music for their films.
Dark Matter
The camera hovers above the Mir diamond mine in Sakha, northeastern Siberia, one of Earth's largest kimberlite pipes. This colossal crater spans a continuum of Soviet and Russian resource politics from Stalin to Putin, where technology and ideology inscribe military and economic imperatives into a landscape transformed by radioactive residues and industrial toxicity. Dark earth is excavated and transported, the images governed by extraction processes that sustained the Soviet Union through Sakha's mineral wealth. Out of dense nocturnal fog, debris and dimly lit industrial plants slowly crystallize, apocalyptic scenery alternating with undulating earthworks evoking folds of velvet. The observational camera remains still, registering rather than narrating, while a finely arranged soundscape transmits the ceaseless whirring of machines. Finally, the camera descends into the open pit, its contours dissolving into darkness, like an infinitely slow fall into bottomless depths.
HEMISPHERE
HEMISPHERE is an artificial space created by 5 high definition beamers projecting onto a suspended cupola.
Transubstantiation Loops
Taken from a live multi 16mm projector performance Sam Hamilton and I do. The Loops are from a film By Campbell Farquhar called "5 Second Exposure". This dates from about April 2006 and the performance has changed somewhat since. It uses up to five 16mm projectors, turntables, glass, and sonic and celluloidic manipulation.
Serious Games 4 – A Sun With No Shadow
An exploration of how the U.S. military employs video game technology to train troops for war. In A Sun With No Shadow, Farocki calls attention to the subtle differences between the simulations for combat training and PTSD. With the former, the sun can be programmed to cast shadows in the virtual combat zones, while the latter, less expensive technology does not offer this feature.
Mini Epochs
Experimental animated film made for the Palazzo Zenobio at the Venice Biennale in 2003
Cremaster 3
CREMASTER 3 is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect...
Iizuna Fair
In the midst of the frenzy night a man finds himself lost in the crevasse of time. It was not the grotesque beings nor the monsters, but it was he who “was here, but wasn't here”. He was the phantom. Buried under memories full of inhibition and promises that never kept – words washed up on the shore – time keeps him at a distance from the “place”. And he hears poems coming on the waves from the other side rhyming and lapping against the shore. A 360° scope video Installation commissioned by Nagano Art Museum.
Disappear Here
2 Small Channel Video Installation, featuring a monologue excerpted from an untitled novel by Alissa Bennett
Skin Shade Night Day
Skin Shade Night Day explores the daily routine and rituals practised by the artist’s Cambodian-Australian family, which are reperformed and documented through a process of embodied empathy. Acts of service, such as gardening and cooking, play out as echoes from the past across a sound and image installation displayed in a shadehouse. Spectres, shadows and aural textures conjure up impressions of a place that remembers how its inhabitants once lived.
Serious Games 2 – Three Dead
An exploration of how the U.S. military employs video game technology to train troops for war. Three Dead depicts a military exercise within a mock Iraqi town built on the outskirts of Twentynine Palms, California, blurring the line between computer simulation and reality.
Serious Games 3 – Immersion
An exploration of how the U.S. military employs video game technology to train troops for war. In Immersion, Farocki presents footage of a role-playing exercise in which military psychologists demonstrate how to use the PTSD program on their colleagues, who describe traumatic wartime experiences. On a second channel, their descriptions play out as virtual renderings.
Pixel Forest
Each pixel is separated like an exploded screen, set in a chaotic way into the space. The video has a whole movement in the room, as one three dimensional image. The experience resembles the brain, working with electromagnetic waves and low voltage information.
Violent Incident: Man-Woman, Segment
In this video work Bruce Nauman explores violence, gender and behaviour. Set around a simple middle class dining table, the scene quickly escalates into a slapstick fight between a man and a woman. Their actions become increasingly more erratic and aggressive yet also ridiculous and cartoon-like as the video progresses. Nauman explores the ways in which anger can be provoked by others and questions the way we can react to them. Much like many of his other artworks, he employs the use of humour and exaggeration to explore serious and even dangerous topics - he produced this work as a result of his frustration with futile acts of violence in ordinary life. He explains, “The viewer is presented with a hypnotic repetition of pointlessly cruel and destructive violence which is both seductive and alienating.”
The Highest Form of the Image Is Armed Struggle
Through intertwined images and testimonials from union activists, protest performers and ethologist John B. Calhoun's experiments observing the collapse of rat populations under controlled "utopic" conditions, The Highest Form of Image Is Armed Struggle juxtaposes a historical revolutionary declaration with contemporary protest culture, asking how political action has come to intersect and stagnate with staging, cameras, and the structures of image production, and insisting on the role of conflict and struggle as the source of social creation.
Phase Shifting Index
A multi-channel video installation about movement and bodies.