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Burrito Bay is a video by George Kuchar that follows the format of a diary or travelogue centered on a tropical trip to Acapulco, Mexico. The footage was filmed during the production of Tropical Vulture , a cross-generational collaborative project between George Kuchar and his then student, Mexican artist Miguel Calderón. The video strays away from the conventions of documentary: Kuchar adds an array of effects such as fadeouts between scenes, overlaid digital shapes traversing across the frame, and a strange, unexpected soundtrack. These effects, together with the lack of a cohesive narrative, give Burrito Bay a dream-like, surreal quality that is commonplace in his work. Whether through scenes of roadside urinating, the group lounging in the poolside, preparing breakfast or staying indoors on a rainy day, Burrito Bay gives us a glimpse into Kuchar himself and the inner workings of his mind.
George Kuchar was a key figure in experimental and independent filmmaking in the Bay Area and more broadly across America. He gained prominence through his Super 8 and 16mm films produced throughout the 50s, 60s and 70s. Some of his most well-known titles such as Hold Me While I’m Naked (1966) gave him international recognition and legendary status in underground cinema. In the 1980s, after more than three decades of working with film, Kuchar transitioned to video, and subsequently created hundreds of low-fi, diaristic videos that oscillated between real life and fiction. Many of these camcorder pieces featured Kuchar or his friends as actors, and he also regularly collaborated his students from the San Francisco Art Institute. Throughout his very prolific output of over 350 films, Kuchar was known for pushing the limits of film and cinematic tradition, and for creating a distinct visual language that was joyously nonsensical and reflected his extraordinary humor and wit. Whether featuring UFOs, weather, defecating, urinating, or forbidden passions—Kuchar embedded his eccentric videos with himself, often at his most intimate and profound.
Working independently, Herndon experimented at the forefront of a now-canonical method—appropriation—by painting additions into found images from magazines such as Life and Sports Illustrated in a way that imbues the resulting works with mythical significance...
Weekly Southeast Asia Radar: New pandemic movements in SEA | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar October 15, 2020 ArtsEquator’s Southeast Asia Radar features articles and posts about arts and culture in Southeast Asia, drawn from local and regional websites and publications – aggregated content from outside sources, so we are exposed to a multitude of voices in the region...
Wrong Currency (Monday, Tuesday, Wednesday, Thursday, Friday) by Sanya Kantarovsky uses the stylistic vernacular of five separate artists to create a series of five lithographs, dealing with a series of apparently unrelated happenings, each staged as one “day.” The series takes up Kantarovsky’s theme of embarrassment across a variety of scenes, each populated by multiple figures, set in a disjunctive relation...
In her 2011 webcam video, Sickhands , Cortright poses before her in-computer camera, as her hands, hair, and body begin waving and rippling vertically across the screen, distorted by software effects...
After two years of research in close conversation with anthropologists and archaeologists, Linares eventually enrolled in classes to study archeology—specifically the history of material artifacts...
Frequencies of Tradition at the Guangdong Times Museum, curated by Hyunjin Kim With works by Yoeri Guépin, Ho Tzu Nyen, Chia Wei Hsu, siren eun young jung, Jane Jin Kaisen, Alexander Keefe in collaboration with Ashoke Chatterjee and Liz Phillips, Tomoko Kikuchi, Ayoung Kim, Hwayeon Nam, Ko Sakai and Ryusuke Hamaguchi, Lieko Shiga, Simon Soon in collaboration with Stella and Roger Nelson, Stephanie Spray and Pacho Velez, Erika Tan, Fiona Tan, Evelyn Taocheng Wang, Ming Wong, Yo Daham, and Zheng Guogu The exhibition explores the turbulence of imperialism, colonialism, and nation-state building and its impact on tradition, and how it continues to manifest in our lives today...
In this untitled acrylic painting, Tessa Mars explores the long-lasting effects of colonialism on the Afro-Caribbean diaspora, particularly in terms of female vulnerability and resilience...
Coda Culture: A Space for Freedom | Arts Equator Thinking and Talking about Arts and Culture in Southeast Asia Articles Akanksha Raja October 11, 2018 As told to Akanksha Raja In the latest instalment in our series covering independent art spaces in Southeast Asia, ArtsEquator.com spoke with artist Seelan Palay to learn about his practice, his inspirations, and his journey setting up the independent alternative art space Coda Culture , at 803 King George’s Avenue in Singapore...
Tohji’s tour of Tokyo’s rave scene through six key artists | Dazed â¬…ï¸ Left Arrow *ï¸âƒ£ Asterisk â Star Option Sliders âœ‰ï¸ Mail Exit Music Scene And Spotted Following last week’s Boiler Room set, the Shibuya rapper gives us a glimpse inside his u-ha party series, featuring some of the city’s hottest names 18 December 2023 Text Günseli Yalcinkaya u-ha in Tokyo 5 One half of the prolific Japanese duo Mallboyz, alongside rapper gummyboy, Tohji is one of the rising stars on Tokyo’s underground scene...