1. FACTUM BRADLEY

    01:18:10

    from Candice Breitz / Added

    FACTUM BRADLEY, 2010 Left: David Ronald Bradley (born 30 July, 1965). Right: Richard Donald Bradley (born 30 July, 1965). FACTUM BRADLEY is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

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    • FACTUM TREMBLAY

      01:18:08

      from Candice Breitz / Added

      FACTUM TREMBLAY, 2009 Left: Natalyn Tremblay (born 3 April, 1980). Right: Jocelyn Tremblay (born 3 April, 1980). FACTUM TREMBLAY is usually shown as a dual-channel video installation on two vertically-mounted plasma displays hung alongside one another. For exhibition purposes, the footage loops endlessly without beginning or end. For more info on FACTUM and to view other portraits from this series, see http://vimeo.com/album/259786 To produce the series of works collectively titled FACTUM (2010), Candice Breitz conducted intensive interviews with seven pairs of identical twins and a single set of identical triplets in and around Toronto during the summer of 2009, footage from which she then edited seven dual-channel video installations (and one tri-channel video installation). Like Robert Rauschenberg’s near-identical paintings FACTUM I and FACTUM II (both 1957), from which the series borrows its title, each interviewee in FACTUM is an imperfect facsimile of their twin: their apparent identicality is soon disrupted by a host of subtle differences. Breitz chose to work with monozygotic twins (and triplets) who spent their formative lives together and who thus draw on shared memories and experience. Each pair of twins was filmed over the course of one long day in a domestic environment designated by the twins – most chose to shoot in the home of one twin, or in their shared home. In each case, Breitz interviewed Twin A for approximately 5–7 hours in the absence of his/her sibling and then directed the same set of questions separately to Twin B. Designed to give each individual the opportunity to narrate his/her own story as s/he chose, the questions covered intimate areas such as childhood, sibling rivalry and family matters, but also zoomed out to allow each subject to address his/her relationship to the world at large. Some questions were specifically slanted to shed light on the mysterious terrain of subject formation: the twins were asked to lend comment, for example, on the nature-nurture debate, or to offer their thoughts on evolution versus creation. Other questions invited the twins to share personal anecdotes or key memories. According to their level of comfort before the camera, some individuals were willing to enter into minute and graphic autobiographical detail, while others set distinct boundaries. Each pair of twins was asked to style themselves as identically as possible for the camera, and left to decide how diligently they wished to fulfill the request. For some the superficial sameness that resulted – almost immediately to be undermined by innumerable small differences that manifest themselves throughout the interview – became an apt metaphor for the projections of sameness that they had been subject to all their lives. Each pair of interviews was later woven together in the editing studio to create a somewhat stereoscopic dual-channel portrait. Breitz’s edits accentuate the push-and-pull relationship between the siblings. As the twins relate their stories, sharp distinctions in their voices, their attitudes, their body language, and their views on the world become apparent. At times they gravitate towards each other, offering almost the same syntax and gestures to describe memory, while at other moments they differ vastly in their conclusions on topics they both consider vital. Breitz’s presence is strongly tangible in each twin portrait – her jagged editing style distances the works from the truth claims of conventional documentary, suggesting that the intertwining forces of fact and fiction are always at play in auto/biography. FACTUM raises questions not only about twinship per se, but also about the struggle that each individual must negotiate in defining him or herself as distinct, while facing constant reminders of the relative role of others in the process of self-definition. The FACTUM series comprises FACTUM BRADLEY, FACTUM HAWKE, FACTUM JACOB, FACTUM KANG, FACTUM McNAMARA, FACTUM MISERICORDIA, FACTUM TANG and FACTUM TREMBLAY. Director + Editor: Candice Breitz Assistant Director: Bianca Semeniuk Camera: Sean Anicic Makeup: Allison Magpayo Production Assistants: Manuela Buechting, Sue Johnson, Eva Michon Post Production: Alex Fahl Commissioned by The Power Plant, Toronto; Commissioning Partner - Partners in Art, Toronto Additional information available upon request: www.candicebreitz.net

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      • Spectacle & Resistance

        01:17:19

        from Martin Berthelot / Added

        68 Plays / / 0 Comments

        Spectacle and Resistance - A companion piece to the thesis Spectacle and Resistance in the Modern and Postmodern Eras. University of Ottawa - 2013 ABSTRACT: The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined, the use of visual culture has accelerated and has become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis and video explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Written Thesis: http://www.ruor.uottawa.ca/en/handle/10393/24272

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        • Et Cetera (2012)

          01:17:18

          from MWM ART FILM / Added

          29 Plays / / 0 Comments

          "Et Cetera" (2012) 77' Filmed & edited by Mariusz Wirski Music by Piotr Zarzycki Produced by Wanda Dittrich, Mariusz Hybiak, Mariusz Wirski Starring Mariusz Wirski, Wanda Dittrich, Mariusz Hybiak, Alicja Wirska, Piotr Zarzycki and others A poetic documentary feature movie filmed entirely using a mobile phone. The whole work is impressionistic in nature – it presents the life of the director but the fact that the frame is divided into four separate channels provides “Et Cetera” with another dimension – the manner in which various elements and scenes are assembled is contra-punctual and symbolic, and the film takes on the characteristics of a philosophical discourse through presenting such elements of life as birth, adult life, friendship, entertainment, love, senility, death and an unbreakable bond with nature. The film was inspired by the fascination with American avant-garde classics - mainly Jonas Mekas, but it is a completely authorial and individual artistic project. The basis for the creation of "Et Cetera" was the interest in testing the limits of transferring a subjective film message through a project being realized by a one man. It is a kind of an attempt to create a filmed memoir documenting events in one's life. MWM ART FILM 2012 http://mwm-artfilm.pl/ https://www.facebook.com/pages/MWM-Art-Film/297418013719143

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          • "ROBERT LOGGIA"

            01:16:19

            from tony arnold / Added

            285 Plays / / 1 Comment

            an existential road movie. "ROBERT LOGGIA" by Tony Arnold 2012 76 minutes

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            • O mar deixa de ser deserto, 2014

              01:15:51

              from Olivia Doppel / Added

              27 Plays / / 0 Comments

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              • Jan Tichy in Conversation with Jason Lazarus and Faheem Majeed

                01:14:32

                from MoCP, Columbia College Chicago / Added

                526 Plays / / 0 Comments

                Exhibiting artist Jan Tichy, along with artists and curators Jason Lazarus and Faheem Majeed will have a conversation on artistic practices that deal with collecting and collections. Jan Tichy works at the intersection of video, sculpture, architecture, sound and photography; many of his works combine these elements. Several of Tichy’s projects, like the exhibition 1979:1 —2012:21: Jan Tichy Works with the MoCP Collection, involve collaborations with museums including the Wadsworth Atheneum, Hartford CT; and the Spertus Institute of Jewish Studies, Chicago, where Tichy engages and creates works inspired by the institutions’ collections, histories, and practices. Held at the Museum of Contemporary Photography, November 13, 2012 In conjunction with the exhibition "1979:1 —2012:21: Jan Tichy Works with the MoCP Collection."

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                • Evocation

                  01:13:47

                  from Terence Hannum / Added

                  456 Plays / / 0 Comments

                  Three Channel Video Installation 2007 Featuring: Sunn O))) "Evocation, continues the interest in not only being a performer and an audience member, but in examining the qualities of performance. Hannum wanted to film SunnO)))'s performances because of their unusual sustained control in contrast to typical rock and roll or punk rock performances. In this three-channel video Hannum edits the raw footage of the bandís ritualistic smoke-lit stage presence to create an experience as if the viewer is engulfed in the middle of the live performance. Dressed in hooded capes, SunnO))) with their glacier slow, low frequency music, creates a hauntingly heavy sonic atmosphere. Playing upon their medieval sensibilities, Hannum recreated the video in the common medieval format of a triptych, which is a three paneled composition. Since SunnO)))'s performances are meant to be an all encompassing aesthetic and physical experience of sound, Evocation captures not only the music and atmosphere but the effect of the brutally loud and overwhelming amplification of the droning guitar and vocal chords upon the crowd. While Evocation cannot fully represent the actual concert's noise level of nine huge amplifiers, Hannum evokes the sublime essence of their quest for the audienceís transcendence through the controlled performance of amplified trance-like sound. As SunnO))) writes on their album covers, "Maximum Volume Achieves Maximum Results." From Tricia Van Eck's wall text for the 12x12 exhibition at the Museum of Contemporary Art, Chicago, IL. terencehannum.com

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                  • Poema Global

                    01:11:41

                    from Toni Giró / Added

                    102 Plays / / 0 Comments

                    Military operations carried out after the 2nd World War have been characterized, among other things, to carry names that refer to abstract ideas, suggesting scenes of mythological origin, moral values ​​rather than maximalist conditions. It seems that the poetic inspiration of the intelligence services who choose these names should be ostentatiously naive to ensure the success of the operations and strategic goals. The obviousness and lack of poetic quality of the partnerships that will produce nominalist, become proportional to the violence and the complexity of technological resources deployed in the operation. The list of these operations provides a perverse poetic anthology of poor quality. From the documentation process and collection of images online on a wide range of military operations and the subsequent analysis of their associations of meaning, there is a video documentary images that are related to transactions with other appear in the search engines to introduce pairs of concepts that give name to them. The combination of all the options on the 180 original images, creates an extensive list of 4048 nominations of potential new partnerships. ------- Les operacions militars desenvolupades a partir de la 2a guerra mundial s’han caracteritzat per dur noms que es refereixen a idees abstractes i suggereixen escenes d’origen mitològic, valors morals maximalistes i condicions de força superiors. Sembla com si la inspiració poètica dels serveis d’intel•ligència que decideixen aquestes noms hagi de ser ostentosament naïf per garantir l’èxit estratègic de les operacions i els seus objectius. L’obvietat i la manca de qualitat poètica de les associacions que aquesta voluntat nominalista produeix, esdevenen proporcionals a la violència explícita i a la complexitat dels recursos tecnològics desplegats en els operatius. El llistat d’aquestes operacions ofereix una perversa antologia poètica de baixa volada. A partir del procés de documentació i recollida d’imatges a internet sobre una sèrie extensa d’operacions militars i de lal posterior anàlisi de les seves associacions de significat, es produeix un vídeo que relaciona les imatges documentals que corresponen a les operacions, amb altres que apareixen en els motors de cerca a l’introduir les parelles de conceptes que donen nom a les mateixes. La combinació de totes les possibilitats sobre les 180 imatges inicials, crea una extensa relació de 4.048 associacions de possibles nous noms. ------ Las operaciones militares desarrolladas a partir de la 2 ª guerra mundial se han caracterizado, entre otras cosas, por llevar nombres que refieren a ideas abstractas, que sugieren escenas de origen mitológico, valores morales maximalistas y condiciones de fuerza superiores. Parece que la inspiración poética de los servicios de inteligencia que deciden estas nombres deba ser ostentosamente naïf para garantizar el éxito estratégico de las operaciones y sus objetivos. La obviedad y la falta de calidad poética de las asociaciones que esta voluntad nominalista produce, devienen proporcionales a la violencia explícita y la complejidad de los recursos tecnológicos desplegados en los operativos. El listado de estas operaciones ofrece una perversa antología poética de baja calidad. A partir del proceso de documentación y recogida de imágenes en internet sobre una serie extensa de operaciones militares y del posterior análisis de sus asociaciones de significado, se produce un vídeo que relaciona las imágenes documentales que corresponden a las operaciones, con otras que aparecen en los motores de búsqueda al introducir las parejas de conceptos que dan nombre a las mismas. La combinación de todas las posibilidades sobre las 180 imágenes iniciales, crea una extensa relación de 4048 asociaciones de posibles nuevas nominaciones

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