14:49 minutes
Situated in German-occupied Belgium at the end of World War I, Y ou Make Me Iliad by Mary Reid Kelley focuses on the story of two. characters: a Belgian prostitute working near the frontlines and a young German soldier charged with monitoring the brothels. Harboring literary aspirations, the soldier goes in search of material to complete his novel. The material he believes he needs is sex. His encounter with the prostitute plays out over one hundred rhymed couplets densely packed with puns, language allusions, double entendre, and verbal winks, Reid Kelley reveals the unbalanced power dynamics and circumscribed gender roles of the war. The complexity of the script is as striking as it is frustrating in its opacity. Any “complete” meaning or connection is obfuscated as highlighted by the figures’ blocked eyes and the two-dimensional effect of their costumes, props, and makeup. Reid Kelley’s interest in this time period goes back to her graduate work at Yale University where she visited memorials and graves of men who left university to enlist during the war. Struck by how few first-hand accounts of women she was able to uncover, her videos often reconstitute experiences that would have otherwise been lost to history. You Make Me Iliad playfully appropriates this period to reflect that the status of women has not changed. Modern prevailing issues such as utopian ideologies and women’s liberation are as prevalent now as they were in the past.
Drawing from literature, plays, and historical events, Mary Reid Kelley makes rambunctious videos that explore the condition of women throughout history. They sardonically critique the view that recent social progress has resolved the unequal standing of women in society. Her work often involves intensive research and critical re-assessments of archetypal historical narratives—scholarship delivered as highly structured poetic verse, which serves as dialogue filled with contemporary cultural references. Her characters leap promiscuously through history and mythology, emphasizing moments of flux in gender roles and social structures. Working with videographer Patrick Kelley, Reid Kelley’s characters are usually all performed by her, disguised in elaborate costuming and makeup. They traverse animated and live-action landscapes created from the artist’s drawings and paintings. Initially trained as a painter, Reid Kelley’s stylized black-and-white visuals recall the crude aesthetics of early animation and the lo-tech look of amateur film. Teamed with her lexically complex scripts rife with historical references and wordplay, Reid Kelley’s works gesture to the instability of language and its role in history.
The theme of the end of the world, of the last man on earth, recurs in our literary and cinematographic culture and in our imaginary: “we had this dream before, the dream that we’re alone.” In The Secret Life of Things , the narrator presents himself as an enthusiast and expert on films announcing the end of the world and those staging someone waking up to discover that they are the only survivor on earth...
The video 9000 PIECES by Euan Macdonald was filmed at a musical instrument factory in Shanghai where 90 percent of the pianos that they manufacture are exported around the world, and only 10 percent are “finished” and can be labeled “Made in the US (or) Europe.” The video captures an intricate network of mechanisms as they interact with each other, their rhythmic movements resulting in an intense choreography and a cacophony of metallic sounds dramatized by Macdonald’s editing...
First Born by Rachel Rose is part of a series of works titled Borns which expands on the artist’s longstanding interest in the organic shape of eggs...
In the 2013 video work, Sitting Feeding Sleeping , Rose combines footage taken of zoo animals living in captivity with screen images that flicker and flash before us...
A minute Ago starts with a hailstorm pelting down unexpectedly on a quiet beach in Siberia...
Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape...
Tania Libre is a film by Lynn Hershman Leeson centered around renowned artist Tania Bruguera and her experience as a political artist and activist under the repressive government of her native Cuba...
I Am Cuba— “Soy Cuba” in Spanish; “Ya Kuba” in Russian—is a Soviet/Cuban film produced in 1964 by director Mikhail Kalatozov at Mosfilm...
In borrowing and subverting images from popular culture, Sadie Benning exposes the media’s role in constructing false and oppressive stereotypes of women, with regard to gender and sexual identity...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
Lynn Hershman Leeson’s genre-bending documentary Strange Culture tells the story of how one man’s personal tragedy turns into persecution by a paranoid, conservative, and overzealous government...
Using the seminal 1958 film Vertigo as a launchpad, Lynn Hershman Leeson explores the blurred lines between fact and fantasy in VertiGhost , a film commissioned by the Fine Arts Museums in San Francisco...
Memory Mistake of the Eldridge Cleaver Pants was created for the show Paul McCarthy’s Low Life Slow Life Part 1 , held at California College of the Arts’s Wattis Institute in 2008 and curated by McCarthy himself...
McCarthy’s Mother Pig performance at Shushi Gallery in 1983 was the first time he used a set, a practice which came to characterize his later works...
To make Mickey Mouse (2010), Paul McCarthy altered a found photograph—not of the iconic cartoon, but of a man costumed as Mickey...
Nuevo Dragon City is a reenactment of a historical event from 1927 in which six Chinese were either trapped or voluntarily hid themselves inside a building in northern Mexico...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
This is not in Spanish looks at the ways in which the Chinese population in Mexico navigates the daily marginalization they encounter there...