Marina Gržinić/Aina Šmid: The Threat of the Future (1983)

Posted · Add Comment

With the song by Yello “Pin ball cha cha” and the singer that invites us to watch by singing “Come, come closer to me, I tell you man you will see…” we enter in the dance performed by Marina Grzinic. The public is in relation to the dance as in a peep show, implying a pornographic camera eye but as well a certain cannibalisation/pornographic perpetuation of our lives by the law and mass media that from 1980s will transform the paradigm of society and discipline into society and control. Therefore we have a duplication of roles, Marina Grzinic and Aina Smid in front of the camera as in some kind of cinema verite (talking about their sexual lives and lesbian attitudes) and Grzinic/ Smid on the TV behind them as a night show.

Marissa Lôbo: Fuck you queer white supremacy celebration! (2012)

Posted · Add Comment

The video performance developed and performed by Marissa Lôbo in collaboration with Nataša Mackuljak, Alessandra do Santos Silva, Xhejlane Rexhepi and  Noemi Auer is an intervention on  Colonial desire and otherness, sexuality, racialized bodies, contra esthetic,  migrant-precarious bodies,  sex work, society double moral,  and  the regime of Western  bodies politics. Marissa Lôbo is a migrant black activist and […]

Katia Sepulveda: Pascha Revolution (2011)

Posted · Add Comment

Performance on February 14th 2011, Cologne, Germany, 12:30 p.m. “Anticapitalism of love” with Amy Rush. Sepulveda and Rush are having sex at the main entrance of Pascha”, the biggest brothel in Cologne, intervening the „power architecture“, and the hyper-heteronormativity they represent. Katia Sepulveda’s work focuses on questions related to sex, gender and sexuality, resistance to […]

Stephanie Wynne/Ta’Shia Asanti: Rashida X (1997)

Posted · Add Comment

The fictional character Rashida X, a black revolutionary activist lesbian chronicles the events leading to her imprisonment. Ta’Shia Asanti is a writer, poet, journalist, TV producer and filmmaker. She is recipient of the Audre Lorde Black Quill Award for Creating Positive Images of Black Women in the Arts. https://www.youtube.com/watch?v=zq8jzHjlcmg

Shu Lea Cheang: I.K.U. (2000)

Posted · Add Comment

Shu Lea Cheang is best known for her 2000 cult smash I.K.U. in which sensual cyborgs fuck for information and pleasure. The film, heavily influenced by Blade Runner, is perhaps the first cyperpunk movie to radically explore the possibilities of cybernetic sexualities. The pioneer in the field of media art embraced internet and hacking culture early on, recognizing both its capacity to enslave as well as liberate, mixing that with queer and sexually explicit imagery bringing something new to the cultural landscape. Cheang describes herself as both a “cyberhomesteader” and a “high-tech aborigine” hinting at meta-levels of not only her own life, but the worlds of her films.

Sanja Iveković: Triangle (1979)

Posted · Add Comment

Sanja Iveković’s Triangle is an 18-minute performance that took place on 10 May 1979: while Yugoslavian president Josip Broz Tito’s motorcade passes by below, the artist is sitting on her balcony, reading a book, sipping whiskey and making ‘gestures’ as if performing masturbation, until a security official arrives and asks her to leave. Exhibited as four black-and-white photographs and a short descriptive text, Triangle is one of the most resonant and defiant works of performance made in the 1970s.

Tanja Ostojić: Looking for a Husband with EU-Passport (2000-2005)

Posted · Add Comment

“In August 2000 I started “Looking for a Husband with EU Passport” project: www.cac.org.mk/capital/ostojic. After publishing an ad with this title, I exchanged over 500 letters with numerous applicants from around the world. After a correspondence of six months with a German man Klemens G. I arranged our first meeting as a public performance in […]

Marina Gržinić/Aina Šmid: Icons of Glamour, Echoes of Death (1982)

Posted · Add Comment

The video is about the phantasmatic world of a woman stereotype portrayed as a model (Marina Grzinic)/apparently a transvestite (that switches through language between sexes, being she and then suddenly he), and her friend – a hermaphrodite (Aina Smid). They remember their childhood, the years in school and the first experience with masturbation.This work is possible to be seen as one of the first if not the first in the field of video art in the world that opens and dramatise the institution of masculinity through drag practices in socialism.

Derek Jarman: Blue (1990)

Posted · Add Comment

Blue is at once Jarman’s most moving film and his most experimental and idiosyncratic. Visually, the film comprises of nothing more than a blue matt screen, over which Nigel Terry, John Quentin, Swinton and Jarman himself read passages from his diaries that poetically trace his struggle with AIDS, his increasing blindness, the loss of friends […]

Virginia Villaplana: Retroalimentación (1998)

Posted · Add Comment

En Retroalimentación Virginia Villaplana reúne las prácticas fotográficas de intervención cultural queer  que desde 1990 ha desarrollado el colectivo activista  LSD y Fefa Vila, una de sus fundadoras, en España. Con una factura de videoclip experimental se muestran las obras que a lo largo de la década de los 90 llevó a cabo este colectivo […]

Lynn Hershman Leeson: Women Art Revolution: A Secret History (2010)

Posted · Add Comment

Judy Chicago, Miriam Shapiro, The Guerrilla Girls, Nanci Spero and many other leading names from the North American art scene of the Seventies and Eighties discuss the ideas that defined feminist art. !W.A.R reveals how the Feminist Art Movement fused free speech and politics into an art that radically transformed the art and culture of […]