Pola Weiss’ first videoart. Abstract, psychedelic visuals with Chic Corea soundtrack.

The Eastern House is a video that rereads some key names and some key sequences from the film history: Antonioni (Blow-up), Coppola (Apocalypse Now), Don Siegel. As well it re-articulates the body and conceptual happenings performed in the Eastern European context. The video is a homage to Nesa Paripovic's happenings and body actions from the 1970s in Belgrade. The text is a political intervention in the field of theory regarding the question of global capitalism and the radical position of technology in the cyberworld with a clear reference to a cyberfeminist attitude and positioning. In this respect, the question of sex and empathy in the cyberworld is raised as well as the ethical and political questioning of cloning and hybrid identities. One of the key moments in the video is the re-reading of Bush’s US war against Iraq, 2003.

A story of fragility, sexuality, monstrosities and geographical confusions. Everything, everywhere is the slogan of the nineties, a confusion of bodies, concepts and strategies, a kind of out of joint situation for the subject. And we find ourselves in all the media, in all the bodies in all the possible spaces at ones, but this deadly dance is not innocent. The video consists of the main part in which wives of the so-called totalitarian leaders as of the Rumanian dictator Cauceuscu (Elena) and of the former Serbian leader Slobodan Milosevic (Mirjana Milosevic) are forced to dance. Focused on the portrait of Mirjana Milosevic (The story of Mirjana M.) a kitsch melodramatic Balkan saga of power, drama, pop-folk elements and evil/demons is constructed. The apathy of feelings is caught in the dramatic tango that is slowed down for the camera eye.

Inserts from neo-avant-garde films by Emir Kusturica, Zivojin Pavlovic and Zelimir Zilnik made in the so-called Yugoslav film period of the 1970s and 1980s are re-read, re-worked, re-coded in a video story contemplating the role of different media in the war in Bosnia and Herzegovina in the time of world internet communications, cyborg stories and world spread computer nets. If it is true that we all part of a giant hypertext, coded by adapted and shortened CD-ROM histories, then why not try to display the video picture as hypertext, as the one which will show the hidden spots of our history and present?

This short film shot in Iceland and New York, which is based on a thirteenth-century Icelandic Laxdeala Saga, features Tilda Swinton as a young woman whose dreams foretell the future.

Wonder where Cindy Sherman got the idea for those "History Portraits" in the '80s? In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model's role in numerous paintings... Time dissolves under her humorous assault—one moment in the painting, then out of the canvas and into that period, then back in the studio. —"In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model's role in numerous paintings. ... Time dissolves under her humorous assault—one moment in the painting, then out of the canvas and into that period, then back in the studio. —Jonathan Price, "Video Art: a Medium Discovering Itself," Art News 76 (January 1977)

The Feature does not reconcile fact and fiction; instead, it blurs the definitions seemingly represented by the film’s two clearly demarcated registers: that of the archival footage and that of the new, theatrical material. In his guise as “Michel Auder,” living a fulsome and extravagant life, replete with beautiful women and a rock-cut pool overlooking Los Angeles, the art world is revealed as a sham, and his character exhibits a repulsive narcissism. And yet, when caught in quiet moments, something poignant emerges—a glimmer of truth that rebels against the entire endeavour. Or maybe, that’s what makes The Feature.

One Thousand and One Attempts to Be an Ocean reflects on the experience of not being able to see the world with depth perception. Made up of micro-events from "satisfying video" that swarm on the internet, the abstract narrative unfolds through an appropriation way by referring to trance and minimal music. It's about a desire for groundless waves, blended with today's inexorable entropy of our information societies.

A large-scale solo exhibition by Chinese contemporary video artist Yang Fudong — grandly opened in the West Bund of Shanghai Art Museum. Yang collaborated with actors including Tan Zhuo, Lu Yulai, Xu Caigen, etc., and showed a 30-day art museum 'new film plan' for the audience at the museum. The Northern Song Dynasty Church and Nietzsche texts are the solemn philosophical language randomly selected by the director as a dialogue in the shooting scenes, and accompanied by the incomparable tone, gestures and facial expressions of the performers. Through this abstraction, stimulation breeds suspense, absurdity, and confusion. To be sure, Yang Fudong has once again found a strong personal style in recycling history.

Not really following any standard plot structure, the film mostly consists of poet L.D. Groban reciting his own poem of 4,080 pages, inter-spliced with X-rated film footage and rock music videos.

A black father and son discuss the ways in which popular myths have shaped their everyday experiences. Go West Young Man, created on an Amiga home computer, parallels their dialogue with a montage of historical moments that have influenced Western perceptions of black masculinity.