Post-colonialism

Pemp traces the 25-year struggle of the Parakatêjê (Gavião) to maintain autonomy in the face of huge development projects in the south of Pará. From the initial recovery of their lands in 1957 through dealings with FUNAI in the 1970s and the appropriation of Brazil nut monopolies to their current negotiations with the government, Pemp shows the Parakatêjê’s most precious project; the preservation of their ceremonies and songs. The Kokrenum, chief and keeper of the group’s traditions, uses video to transmit them to future generations.

These are the ghosts of a haunted civilization, a culture of progress that hides the social and political horror behind the streets. These are the haunted figures in the Capitalocene era. A sinister dance of macabre abstraction. A scanner darkly of the streets. Part of the Hauntology series.

The introductory title to The Blindness Series, aletheia presents an indexing of categories investigating different aspects of blindness as metaphor. Stylistic preference for the techniques and conventions of MTV, and American Television in general, provides the means to create connections among the categories of cosmetic surgery, sexuality, technology, language, hysterical blindness, and actual blindness.

This title is also available on Tran, T. Kim Trang: The Blindness Series.

This video takes its departure from the BBC's coverage of the killing of three IRA volunteers by British Security Forces in Strabane, a small town on the border between Northern Ireland and the Irish Republic. Interrogating television discourse, the video examines what is referred to as the British “shoot to kill” policy of planned assassination in the North.

Cloudless Blue Egress of Summer is a two-channel synchronized video installation. A composite of the two channels presented side by side in one video is available from Video Data Bank for educational use only.

Combining collage and animation with an Asian-influenced soundtrack, images of women dancing sensually and devotional imagery, Matsushima Ondo compares religious devotion with sexual representation. The viewer is invited to make connections and recognize the irony in some of the similarities.

Ming Wong creates videos that explore performance and issues of race and gender. Born in Singapore of Chinese heritage, and now based in Berlin, his work examines cross-cultural experiences by appropriating scenes of iconic world cinema. Wong casts himself anachronistically as the star, critically exposing the otherness of the relationship of media and world history.

Sections 31-60 of an incomplete extended poem describing the artist's connection to the radical black tradition. The completed poem will be formed of 180 sections.

Video is introduced to the Enauênê Nauê Indians, a group still isolated in the North of Mato Grosso. An outgoing group, they respond with a surprising high-spirited performance that includes a good measure of clowning around and a re-enactment of an attack they suffered at the hands of their neighbors, the Cinta-Larga, not long ago. After growing accustomed to watching movies on video, they decide to produce their own.

Directed and photographed by Vincent Carelli.

In Enauenê-Nauê with English subtitles.

Adapted from psychologist A.R. Luria’s research in the Islamic outskirts of the Soviet Union in the 1930s, How to Fix the World brings to life Luria's conversations with Central Asian farmers learning how to read and write under the unfamiliar principles of Socialism.

Colorful digital animations based on Max Penson's photographs of collective farmers play against a backdrop of landscape images shot in Uzbekistan in 2004.

This promotional initiation video lures inductees with promises of decolonization and settler remediation. Imagery of settler-led planetary destruction is juxtaposed with sequences of underground group therapy sessions where settlers can lose, forget, and explore their identities in order to indigenize. Sharing their labor, lurking through museums, and institutions, future accomplices snap thousands of cellphone pictures of every artifact and artwork on hand.

Fulbeck force-feeds the viewer scores of all-too-familiar Asian female/Caucasian male pairings in Hollywood films, and combines them with contemporary excerpts from best-selling novels, magazines, and dating services. Some Questions For 28 Kisses delves into the causes and purposes of these created images and their relation to interracial dating, ethnic fetishes, race and gender wars, and Hapa identity.

“Leads the viewer on a delightfully rip-roaring jaunt through the Asian Pacific American psyche.”

-- Gerard Lim, Asian Week

The Sun Quartet is a solar composition in four movements, a political composition in four natural elements, an audiovisual composition in four bodily mutations: a sun stone where youth blooms in protest, a river overflowing the streets, the burning plain rising in the city. And, finally, the clamor of the people that shook Mexico after the night of September 26, 2014. The disappearance of 43 students from Ayotzinapa opened a breach in the Mexican political body.

This video proposes an ironic metaphor to grasp the follies of U.S. government action and inaction in Central America. The process of learning U.S. policy is similar to the process of a young child acquiring the principles of language. These dual senses of literacy operate on several levels, situating a child’s consciousness within the contradictions of history comments on the illusory innocence of childhood, and the unexamined, but real, guilt of the U.S. government, its supporters and clients.

The Dresden Codex is a prehispanic book that was kidnapped and was rediscovered in the city of Dresden, Germany. It keeps a presage of a destruction to come.

A significant amount of the hand-drawn animation seen on television today is cartooned in sweatshop-like animation factories in Korea, China, and the Philippines. The writers and animators who form Animaquiladora sharpened their skills in one such factory located in Tijuana, Mexico. After years of animating logos for the American talk show Regis and Kathie Lee, Lalo Lopez and Alex Rivera escaped from the hellish sweatshop of Tijuana to seek better lives in Los Angeles and New York.

This video takes its departure from the BBC's coverage of the killing of three IRA volunteers by British Security Forces in Strabane, a small town on the border between Northern Ireland and the Irish Republic. Interrogating television discourse, the video examines what is referred to as the British “shoot to kill” policy of planned assassination in the North.

Give it Back: Stage Theory’s point of departure is the détournement of Panorama of the Monumental Grandeur of the Mississippi Valley (1850), a 9 foot tall, 348 foot long proto-cinematic moving panorama commissioned by and based on the contemporaneous notes and drawings of 19th century amateur archaeologist and glorified grave robber Montroville W. Dickeson — who spent 12 years of his life traveling the Mississippi River and digging up Indigenous burial mounds.

In this video, the artist tries to overcome the effects of distance, and reflects on geography represented in exile due to war, and on the psychological distance represented in each one’s approach to her womanhood. The video beautifully weaves personal images and audio recordings of a very intimate nature, binding the personal with the political.

Louis Henderson’s work focuses on anti-colonialism and criticizing the neocolonialisation of cyberspace.  Born in England in 1983, he graduated from London College of Communication and Le Fresnoy - Studio national des arts contemporains. He recently finished a post-diplôme at the European School of Visual Arts.

NOMADS at the 25 DOOR is presented in three chapters and based around a series of interviews between Finley and Mickey Yates, a 22-year-old woman serving a double life sentence in the Nevada Women’s Correctional Institution for the murder of her mother. Interweaving interview excerpts with footage of the upheaval in Eastern Europe, the tape explores the memory’s construction of an ephemeral homeland when a concrete one is lost, stolen or left behind.

Uncomfortable journeys through the work and ideas of Christopher Cozier, a leading contemporary artist in the Caribbean. The video presents Cozier's witty and incisive drawings, installations and videos in the context of post-independence Trinidad with its oil-rich economy, complicated ethnic politics, and vibrant cultural forms.

Hostage: The Bachar Tapes (English Version) is an experimental documentary about "The Western Hostage Crisis." The crisis refers to the abduction and detention of Westerners like Terry Anderson, and Terry Waite in Lebanon in the 80s and early 90s by "Islamic militants." This episode directly and indirectly consumed Lebanese, U.S., French, and British political and public life, and precipitated a number of high-profile political scandals like the Iran-Contra affair in the U.S.

“Hopinka’s video Mnemonics of Shape and Reason (2021) traverses the memory of a place and space visited by the artist. Employing an original syntax of storytelling, the artist interweaves scattered and reassembled landscapes with layers of captured audio, poetic text, and music. A rhythmic account of the spiritual implications of colonial plunder, Hopinka’s fluid reflections transmute ideas of spiritual malleability tied to land, sky, sea, myth, place, and personhood.”

Commissioned by ICA Miami.

In these seven short video performances directed by Isaac Artenstein, Gómez-Peña confronts Mexican-American culture clashes, stereotypes, and the Fourth World (immigrants). Speaking through a bullhorn or on the airwaves of mock-station Radio Latino FM, he broadcasts a message that will not be silenced.