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Features four distinct, bizarre, existential tales about people whose lives are in transition, who are each asking questions about themselves, their environments, and about God(s).

2010

Sylvia Kristel – Paris

Sylvia Kristel – Paris is a portrait of Sylvia Kristel , best known for her role in the 1970’s erotic cult classic Emmanuelle, as well as a film about the impossibility of memory in relation to biography. Between November 2000 and June 2002 Manon de Boer recorded the stories and memories of Kristel. At each recording session she asked her to speak about a city where Kristel has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of ‘plotting’ somebody’s life as a coherent narrative.

2003

ULTRA

Video collage distributed by the label Come Organisation. I - IV. Noise, smut, medical procedures, studies on art, interviews and other assorted madness.

1986

Lapse Communication

Writes Kobayashi, "In 1972 I started a series of participatory performances where the first person performs an ambiguous action in front of a recording camera; the next person watches the recorded footage and imitates the action in front of a recording camera; the third person repeats the same procedure using the second person's video recording, and so on. Within the repetition of recording and action, the original gesture is transformed by the participants' misunderstanding, interpretation, and memory."

1980

New York Moscow Video Express

Short video art piece.

1977

Ooi and Environs

A video installation using three monitors and mirrors, Ooi and Environs depicts the Tokyo cityscape with electronically modified footage of the city. Aiming to create an interactive environment, images reflected on the mirror shift as audience members move.

1977

EVE II

The Second Electronic Visualization Event took place at The University of Illinois Chicago Circle Campus in 1976. This documentation features Bob Snyder on EMU Synthesizer, Phil Morton on the Sandin Image Processor by Dan Sandin and Guenther Tetz on the GRASS (GRaphics Symbiosis System) by Tom DeFanti. In Morton's words these artists perform live realtime audio and video synthesis "using both analog and digital computers as 'visual instruments'..." Other artists credited with participation in the Electronic Visualization Events between 1975 and 1978 include Drew Browning, Larry Cuba, Barbara Latham, John Manning, Faramarz Rahbar, Ed Rankus, Michael Sterling, Barbara Sykes and Jane Veeder.

1976

Camera, Monitor, Frame

Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.

1976

Under a Bridge

In this tape, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.

1974

Mona Lisa

An experimental short film from Toshio Matsumoto featuring Mona Lisa.

1973

What a Woman Made

In Idemitsu's seminal women's liberationist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, What a Woman Made is a candid critique of the treatment of women in Japanese society.

1973

Eat (Document of the Performance)

Katsuhiro Yamaguchi and Hakudo Kobayashi presented the video performance Eat at Video Hiroba's first exhibition, Video Communication DO IT YOURSELF KIT. Two performers sit at a table. One records the other eating; then they switch roles. The live video feed of the performance was displayed on a monitor in the exhibition space.

1972

Oh! My Mother

Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."

1969

The Medium Is the Medium

Produced by WGBH-TV in Boston, the Medium Is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the U.S. WGBH commissioned artists — Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini — to create original works for broadcast television. Their works explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture.

1969

Image Modulator (Document of Installation)

Yamaguchi writes, "In April 1969, Image Modulator was shown at the Sony Building exhibition Electromagica '69, using three Trinitron color TV monitors behind a glass that created an optical effect. The glass acted as a literal filter, adding a mosaic effect to the video images."

1969

Computer Movie No.2

Computer Movie No. 2 is a CGI animation created in advance of video-editing software. CTG programmed graphics on an IBM computer, filmed the screen with a 16mm camera, and assembled the frames as an animated film.

1969