.Yl 1981 - 266

An old man who used to be a projectionist, a cassette deck that comforts his solitary life, a nude photo of a woman who used to be a mobo (modern boy) and his girlfriend. These are the reality of Narita's performance. He brutally cuts them out and composes the film based on his own theme. It is the sincerity of the cold, detached, painstaking images of his wrinkled, toothless mouth that make him seem so present, even though he has lost his job. Without using any dialogue, the director Nagasaki poetically condenses what he encounters in the small room, which is interesting because it allows us to discover something that we had not noticed in our daily lives.

Brazilian singer Mônica Passos on stage in Paris. In her small apartment she prepares a meal. In the studio she records the song "Itaipu". She speaks of her rebellion against the power plant, that harms nature. In a park, he sings "Itaipu". His powerful voice reproduces bird sounds. She throws stones into the water, creating a visual analogy with sound waves. With her guitarist husband she walks, playfully, away from the camera.

At the start of the 1980's, executives and business managers are being sent to sensitivity courses, to become more creative in their leadership.

Phil Morton’s “SAIC Memo” video art work from 1981 features Timothy Leary, Jane Veeder and Jamie Fenton. The Sandin Image Processor, a patch-programmable analog computer optimized for realtime audio video processing and synthesis developed from 1971 - 1973, and The Bally Arcade Video Game System, a programable home video game console developed in 1974, are used to compute and process the material of this playful, critical and self-reflexive psychedelic cybernetic communication system.

Disco-Film 38: In a cheerful interpretation of the song "Tanzt keiner Boogie", the group Silly and their singer Tamara Danz target the dance behavior of young people.

In this work performed in 1976 (edited to a video work in 1981), Imai flashes a strobe light directly at the audience seated inside the auditorium in the KBS Laseirum Center in Kyoto and photographs their reaction with his camera. The audience who had expected to see a moving image projected on the surface of a dome-shaped screen on the ceiling is submerged in the dark for the first few minutes. They are left to listen to the recorded sound of a heartbeat and the metronome set to the rhythm of 6/8 time. The sudden eruption of the strobe light as Imai presses the shutter of his camera synchronized to the ringing sound of the metronome brings out diverse reaction from the audience: some cover their eyes with their hands or the pamphlet, while others directly look at the camera and strike some funny poses.

Davidovich searches in vain for the meaning of "avant garde." The artist travels to Iowa City, where he conducts a series of "man on the street" interviews with artist Michael Smith, painter and critic Walter Robinson, University of Iowa professor of art history W.J. Tomasini, a security guard at the University of Iowa Museum of Art, an art school secretary, and strangers on the street.

A walk in Paris in 1981 with one of the first thermographic cameras detecting different levels of heat. A whole different perception of the urban environment. In color and b&w.

A magnificent cardboard spaceship crashes in the grass, so the crew of the Enterprise beams down to the scene to render first aid. However, buckets of enemies are just waiting for their moment to put that alien crew to flight - only they didn't count on the phasers & fists of our heroes!

Life and work of the popular painter Bajado, interviews with Gilberto Freyre and João Câmara, scenes of daily life in the city that always inspired him.

3 projectors/screens, color, silent

A very early example of fractal-generated terrain.

A working class Catholic family in Sydney endure tough times and misery in the 1940s. In the middle of it all, the 16-year-old son tries to cope with falling in love with a male friend.

Consequences of the collapse of a new realty.

In the 1970s, the wave of modernisation hit the Orchid Island (Lanyu). Warship Rock, Double Lion Rock, Lover’s Cave, the wisely and artistically designed tatala (traditional fishing boat), along with the Tao people’s amazing fishing skills were well-known by the public through the growing tourism, yet the small island of Lanyu and Tao people’s indigenous ways of life still remained a ‘spectacle’. When the documentary film crew arrived with curiosity and good intentions, what stories would they tell together?

Colour Work attempts to present a subjective journey and to produce a translation of the perceptual experience of the look. Built around a cyclic and repetitive structure the film has a musical effect through its pace and rhythm.