© » KADIST
Mary Helena Clark
By testing the limits of identification with the camera’s point of view, Delphi Falls cycles through multiple subjectivities. The film misuses more traditional narrative conventions -the suggestion of a story, the anchoring of actors as characters- to have the viewer constantly questioning who or what they are, and where they are located in the film’s world. Delphi Falls was included in the 2017 Whitney Biennial film program.
© » KADIST
Zhou Tao
Created for the Seventh Shanghai Biennale at the Shanghai Art Museum, Zhou Tao’s 1,2,3,4 records morning staff meetings in over forty shops and companies in the immediate vicinity of the People’s Square. Regardless of occupation, the employees count off and move in step to the rhythms of their companies’ corporate songs or chants, which are meant to build team spirit and corporate loyalty. Zhou’s practice alchemizes the ordinary surroundings into a theatre where his camera is not simply a recording apparatus but an extension of existence.
© » KADIST
Haris Epaminonda
Created from extracts of kitsch movies or Greek soap operas from the 1960s, these videos are like audiovisual ‘postcards’ reflecting a nostalgic and melancholic approach. The images have lost their context and original meaning to then be re-assembled, confronted to each other and superimposed with other elements, to reveal new sequences. The narration has disappeared from the sequences and the spectator waits in vain for something to happen.
© » KADIST
Renee Rhodes
The artist writes about her work: “There is an endless desire to know what we look like from outer space and many of us have evolved into a species that exists across the disorienting spaces and timeframes of virtuality. Within my current work, dance and simple movement scores act as a language for simultaneously collecting, mapping and producing volumes of information and knowledge. Moving makes a map and performing is observation.
© » KADIST
Woto Wibowo
Vertical Horizon by Wito Wibowo addresses a media scandal in 2010 that took over the cultural milieu of Indonesia. Someone uploaded on a sextape of pop star Ariel Peterpan with model-actress Luna Maya recorded on a mobile phone. Several days later, another video of Ariel Peterpan and Cut Tari, an infotainment news presenter in Indonesia, surfaced on the Internet.
© » KADIST
Haris Epaminonda
Haris Epaminonda’s work questions the manipulation and the flow of images as well as their power of fascination. The images she works with to create her collages (paper or video) come from magazines or history books, film extracts or soap operas from the 1960s and 1970s. By readapting a universal past (in her work on monuments) as well as personal (with tv series she used to watch as a child, etc.)
© » KADIST
Werner Herzog
Commissioned for the 2012 Whitney Biennial, Hearsay of the Soul (2012) is Werner Herzog’s ode to the landscape paintings of the 17th-century Dutch artist Hercules Segers. The work is a four-channel digital projection of Segers’s artworks accompanied by the emotive music of the Dutch cellist and composer Ernst Reijseger. Herzog sees Segers’s vast landscapes as powerful representations of our own interior worlds, resounding with feelings of anger, joy, fear, and loneliness.
© » KADIST
William E. Jones
Killed is a video projection in which William E. Jones appropriated and edited, in a rapid sequence, a selection from the more than 68,000 censored or discarded films produced by the Farm Security Administration’s photographers between 1935 and 1943. Roy Emerson Stryker, the then director of the program, was in charge of what he called “killing” negatives by punching holes in them to render them unusable. Killed continues Jones’s use of discarded film footage seen in his video created from vintage 1970s and 1980s gay porn that was included in the 2008 Whitney Biennial.
© » KADIST
Will Rogan
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future. The video follows a moped carrying a woman holding a very large mirror. The mirror is large enough that she can’t see what lies ahead, she can only see what has already come as reflections in the mirror.
© » KADIST
Xiaoyun Chen
In the video work Drag, a man in a dark room pulls on the end of a rope. In midst of sounds of heavy breathing, the camera presents alternating scenes of a man and the shadow of a man wearing a long, pointed hat cast against a wall. Insinuating a sinister mood, the man and the shadow struggle to control the scene through alternating tugs and releases of a rope.
© » KADIST
Wong Hoy Cheong
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world. The video—located in an imagined contemporary Malaysian middle-class living room, a space of a fictive former imperial power—explores the precarious link between fact and fiction, fakery and authenticity by overlaying three believable, authoritative forms: a documentary, a website, and a realistic reconstruction of a contemporary home. It is rife with occidental colonial documents and exotic cultural artifacts—the trophy-evidence of Empire-making.
© » KADIST
Tony Oursler
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. Mounted on platforms suspended in space on metal stands, the video sculpture contemplates human relationships, expressed here by shouts and murmurs, the strange and the familiar.
© » KADIST
Bruce Conner
Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience. The video presents us with a reinterpretation of footage from his unreleased avant-garde film, Easter Morning Raga , from 1966. In contrast to his more famous pieces like A Movie (1958) and Crossroads (1976) which are juxtapositions of fragments from newsreels, soft-core pornography, and B movies, the images in EASTER MORNING serve as a reinterpretation of footage.
Haris Epaminonda
Epaminonda’s video works are based on re-shot excerpts of film and television footage – principally the Greek soap operas and kitsch romantic films fromthe 1960s that used to fill up Sunday afternoons in the artist’s Cypriot childhood –which she then subtly reworks...
Woto Wibowo
Woto Wibowo, aka Wok The Rock, is a cross-disciplinary artist working mostly on art-based project...
Will Rogan
- location: Albany, California
- year born: 1975
- gender: male
- nationality: American
Renee Rhodes
Renée Rhodes grew up amidst the fantasy and rigor that is the world of classical ballet...
Wong Hoy Cheong
- location: Kuala Lumpur, Malaysia
- year born: 1960
- gender: male
- nationality: Malaysian
- home town: George Town, Malaysia
Xiaoyun Chen
- location: Hangzhou, China
- year born: 1971
- gender: male
- nationality: Chinese
- home town: Hubei Province, China
Tony Oursler
- year born: 1957
- gender: male
- nationality: American
- home town: New York, New York
Zhou Tao
Artist Zhou Tao has a diverse and varied practice, and notably, he denies the existence of any singular or real narrative or space...
Bruce Conner
- location: San Francisco, California
- year born: 1933
- gender: male
- nationality: American
- home town: McPherson, Kansas
Werner Herzog
Werner Herzog is a renowned filmmaker, screenwriter, actor, and producer; he makes both documentaries and fictional films that aim to reveal what he calls ecstatic truths about humanity...
Mary Helena Clark
Mary Helena Clark is an artist working in film, video, and installation...
-
2000-2009
Wong Hoy Cheong
2004Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
Haris Epaminonda
2007Created from extracts of kitsch movies or Greek soap operas from the 1960s, these videos are like audiovisual ‘postcards’ reflecting a nostalgic and melancholic approach...
Haris Epaminonda
2007Haris Epaminonda’s work questions the manipulation and the flow of images as well as their power of fascination...
Will Rogan
2007Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
Bruce Conner
2008Unlike many of his earlier films which often present poignant critiques of mass media and its deleterious effects on American culture, EASTER MORNING , Conner’s final video work before his death in 2008, constitutes a far more meditative filmic essay in which a limited amount of images turn into compelling, almost hypnotic visual experience...
-
2010-2019
Renee Rhodes
2011The artist writes about her work: “There is an endless desire to know what we look like from outer space and many of us have evolved into a species that exists across the disorienting spaces and timeframes of virtuality...
Woto Wibowo
2011Vertical Horizon by Wito Wibowo addresses a media scandal in 2010 that took over the cultural milieu of Indonesia...
Werner Herzog
2012Commissioned for the 2012 Whitney Biennial, Hearsay of the Soul (2012) is Werner Herzog’s ode to the landscape paintings of the 17th-century Dutch artist Hercules Segers...
Tony Oursler
2012Continuing 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...
Mary Helena Clark
2017By testing the limits of identification with the camera’s point of view, Delphi Falls cycles through multiple subjectivities...