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Cult of the Cubicles
ES ES-OVNI CTX-S003-SS005-0021 · Item · 1987
Part of Non-Identified Video Observatory (OVNI)

On a business trip, George visits his friends in New York. Relics, memories, his mother in the Bronx. Available online until December 27th 2020. George Kuchar's videos are copyright of the Kuchar Trust and distributed in partnership with the Video Data Bank at the School of the Art Institute of Chicago

Curveball
ES ES-OVNI RSC-3648 · Item · 2010
Part of Non-Identified Video Observatory (OVNI)

Six years into a disatrous war in Iraq, stories have emerged about a staggeringly incompetent pre-war intellegence effeor that got nearly everything wrong...but the truth is much more troubling.

cuscús
ES ES-OVNI RSC-2246 · Item · 2006
Part of Non-Identified Video Observatory (OVNI)

Through rate that marks the cooking process of cuscús, a moroccan traditional plate, Hadisha, neighbor of the 'Forat de la Vergonya', tell us which is the history of its seat and she introduce to us some of its inhabitants. This place, a park constructed and automanaged by its neighbors during last six years, is seriously threatened at the present time by the execution of a project designed by City council of Barcelona.

Cut the Parrot
ES ES-OVNI CTX-S006-SS005-0007 · Item · 1996
Part of Non-Identified Video Observatory (OVNI)

The police phoned. They left a message on the machine. They said he was dead. The video unwinds through stories of sex for rent, unclaimed bodies, cigarette burns, and other monuments of life’s long run from wall to wall. Cut the Parrot is three grotesque comedies in one: the stories of Gerry, Susan, and Albert. Songs of hope and heartbreak spill from the mouths of the performers. The order of impersonation rules.

Cv_23
ES ES-OVNI EXP-S008 · Series · 2023
Part of Non-Identified Video Observatory (OVNI)

The art of the 20th century was Futurist audacity,

What remains of Futurism: the insane heroism of the white race in unstoppable decline

What is art after the 20th century?

An exhausted symptom of becoming nothingness?

After the Nazi-liberal extermination that began with Pinochet and Thatcher:

Acceleration, convulsion, collapse.

Perhaps an epidemic of depression?

But luckily there is war, amphetamine for depression.

Heroism and dementia of the white race.

Holocaust on the frontier and on the seas.

Nazism is Europe's truth, Anders, Breivik its peer.

The post covid generation: last by necessity, last by choice?

Extinction as a paradoxical strategy:

Mass dropout from work, non-participation, non-birth,

Franco Bifo Berardi: "Desertion!

"dinamita, historia de violencia de clase" de Lluis Agami, ed. traficantes de sueños cap. sabotaje 1908

https://www.lalinternasorda.com/dinami.html

"trabajos de mierda" de David Graeber

https://davidgraeber.org/books/bullshit-jobs/

"La insurrección que viene" de Comité Invisible

https://tiqqunim.blogspot.com/2013/03/civil.html

https://timeo.store/products/etica-della-diserzione

https://galletarecords.bandcamp.com/track/abajo-el-trabajo

"lavorare con lentezza"

https://aws.lsd.cat/audio/HepixhDs_Yw.mp3

https://www.ildeposito.org/canti/lavorare-con-lentezza

Los prisionero: "el baile de los que sobran"

https://www.youtube.com/watch?v=X-YAnmsbnKM

D’amore si vive
ES ES-OVNI CTX-S015-SS007-0003 · Item · 1982
Part of Non-Identified Video Observatory (OVNI)
  • Why do you think adults treat kids like that... as if they were stupid? - Because grownups think that we kids can't do anything... - Is it true? - Children are better than adults when they want to be, because they think differently. They imagine things that are more beautiful, purer. But grownups are malicious... Like you.
Untitled
ES ES-OVNI RSC-3376 · Item · 2010
Part of Non-Identified Video Observatory (OVNI)

Starting from 50 reels of 8mm and super 8 film recovered in L'Aquila (Italy) and nearby villages after the earthquake of 6th April 2009 (many of them literally torn to rubble thanks to the courage of their owners), I tried to describe the disaster of earthquake to reach a general reflection about memory and its stratifications. In addition to private home movies, I used various audiovisual materials: footages from people with camcorders, cameras or cell phones during the moments and the days after the quake; pictures I shot in L'Aquila and surroundings; images from early cinema films. The differ(a)nce between the audiovisual sources is not only a technical detail, but it assumes an aesthetic and substantial value. It shows the passing of time on the individual and collective memory. The city becomes a metaphor of the fragility of memory.