free entrance- wed to sun 11:00-19:00

Ocularis: Eye Surrogates
Tran T. Kim-Trang, 21 min, USA

If you were caught on videotape, what is the worse thing you could be doing? This video raises issuse of surveillance, not to reiterate the conventional privacy argument, but rather to engage in a more profound consideration of the construction of society's desire to watch

Kathy & Claudia & The Drama of the Gifted Child,
Cecilie Dougherty, 26 min, USA

Kathy and Claudia both examine lesbian-centered sexual representation. The artist attempts to find this representation apart from a feminist ideal, an erotic ideal or a
pornographic ideal. The Drama... is about using love to create a border between oneself and political/psychological oppression. Cecilia Dougherty has screened her
work extensively; she teaches at the New School and lives in NYC.

Sapphire and The Slave Girl,
Leah Gilliam, 18 min, USA

Sapphire... is a sort of scratch-mix riff tape somewhat based on the 1959 feature film 'Sapphire' which is a fictional story about the murder of a black woman passing for white.
Referencing everything from Marlowe to Shaft. Sapphire and the Slave Girl situates itself in the persona of the hard-boiled detective story. Leah Gilliam teaches Film and Electronic Media at Bard College, her work has screened internationaly.

Electronic Diary,
Lynn Hershman,1984-PRESENT A.D., 75 min, USA

The electronic diary derives from feminist performances in the 1970's. Both are concerned with documentation and articulation of identity. THE ELECTRONIC DIARY , however, is specifically designed to be electronically distributed to a mass audience. Each video is produced privately, using no camera person or technicians. The completed works are, paradoxically, widely distributed and internationally broadcast.

Spicy Movie,
Alfred Ryf, beta sp, 30 min, 1998, CH

"I grew up in a family in which you weren't allowed to tell your secrets to the neighbours. My job is to put the neighbours in the picture."

Me/We, Okay, Gray,
Eija-Liisa Ahtila, 3x90s, 1993, Fin

Me/We, Okay, Gray is a 90 second 'fiction-bulletins' hat apdot the compact, fragmentary language of adverts.

Surface Noise,
Inneke Van Waeyenberghe, 17min, 1999, B

Surface noise is about being constantly on the surface of something or someone when one doesnt know intimacy, when one keeps forgetting intimacy and the body and is consequently forced to discover it over and over again. Its about the relationship between intimacy and the not knowing of body language and body codes. Therefore the intimacy in surface noise can bebest describe with the following sentences: exploration of the body. Exploration and acceptation. Acceptation and sometimes response. No acceptation of response.

Scrub Solo 1 : Soloneliness,
Antonin De Bemels, 9min,1999, B

Scrub Solo 1is the 1st film experiment between Belgian videomaker Antonin De Bemels and American choreographer Bud Blumenthal. The image of time is greatly decomposed, at once stopping, being seized and then accelerating beyond belief.
The character in the film inhabits, is almost imprisoned in unreal time which nevertheless seems natural. He communicates with his own solitude.

A Conversation - (about work),
Lily Markiewicz, 9 min 40, 1998,GB

Questioned by an unknown interrogator, Arthur and Joe are asked things even the shiniest suit can't reliably answer: An everyday body-language of the male body.

De la concha de la Lora,
7 min, 1999/ Fin de siglo, 15 min, 1998, Maike Höhne, D

A young argentinean woman comes to cuba to shoot a documentary about prostitution.
Instead of doing so, she has a black cuban lover and limits of prostitution become indifferent. The taxidriver gives his opinion about prostitution.

CINEMNESIS: Pièce touchée, 1989, 15 min/
Passage à l'acte 1993, 12min/
"Alone. Life Wastes Andy Harry" 1998, 15 min,
Martin Arnold, A

Hal Foster, 1999, 60 min, B (a constant vzw production)

In the Anglosaxon world, Return of the Real is recognised as a milestone in the history of contemporary art. Its reading of different avant-garde movements and of artistic dissidence have contributed to a more subtle understanding of works of art and of contemporary creative strategies. Hal Foster is professor of Art and Comparative Literature at Cornell
University (NY). He is the author of several books including The Anti-Aesthetic, Recodings, and Compulsive Beauty, and is an editors of the journal October.

Bodybuilding 1,
Gabriel Villota Toyos, 1999, 60 min, Esp
(a constant vzw co-production).

Bodybuilding presents a reflection on this state of affairs, using two types of images in a single audiovisual stream. Some are drawn from video-performances of Basque artists, other images and sounds are extracted, by a process of "détournement", from the virtual public sphere which private bodies have invaded.

Manipuler son corps/ Construire sa maison,
Laetitia Bourget, 4 min40/4 min, 1997/1998, F

Manipuler son corps , 4 min40,1997
The female body - examined in image and sound, caught in the dichotomy of beauty and monstruosity, of lightness end gravity, of life and death.

Construire sa maison, 4 min, 1998
"... like the story of the 3 little pigs, the sewing process consists of an initiation : becoming conscious of your own boundaries, and respect them, to give the place that you can at the others."

What's the difference,
Synnöve Rabb, 4mn, 1999, Fin

“Well, it's about not feeling like a Real Woman, and about wanting to please everybody in some other way.”

Compilation,
Estibaliz Sadaba, Sp

Technology/Transformation : Wonder Woman,
Dara Birnbaum, 7 min, 1978-79, USA

Appropriating imagery from the TV series Wonder Woman, Birnbaum isolates and repeats the moment of the "real" woman’s symbolic transformation into superhero. Entrapped in her magical metamorphosis by Birnbaum’s stuttering edits, Wonder Woman spins dizzily, like a music-box doll.

In Carne,
Laurence Bosmans, 1999, B

Experience, the body in its deprogrammation. enter into the matter. Reveal the part of oneself that suffers. Discover. Let the image of oneself die. Repossess

Vital Statistics of a Citizen, Simply Obtained,
Martha Rosler, 40 min, 1977, USA

Martha Rosler addresses issues of female body standards and expectations in her 1977 videotape Vital Statistics of a Citizen, Simply Obtained. In this piece, Rosler uses her body and transforms her sexuality into a product for which to be measured and examined. She explores how powerless women can feel as a result of constantly being judged by others and being told by the media who they should be. "In the process of reducing the woman’s subjectivity to quantifiable data, her inner being implicitly ceased to exist."

La philosophie dans le boudin,
Audrey Dubouch-Simon Backès, 26 min, 1994, F

Twenty-six minutes of archives and interviews evoking the work of French artist Michel Journiac, 'le Pape du Body Art'

Matthias Müller, Selected Films, D
Aus Der Ferne - The Memo Book, 16mm, 27', color, 1989
The Flamethrowers, 16mm, 9', color/bw, 1990, (Collective film by Owen O'Toole and the
groups Alte Kinder & Schmelzdahin)
Home Stories, 16mm, 6', color, 1990
Sleepy Haven, 16mm, 15', color, 1993
Sternenschauer - Scattering Stars, 16mm, 2', bw, 1994
Alpsee, 16mm, 14', color, 1994

Muller's image-rich films deal with the intersection of the private and public spheres. His seamless collages of personal imagery and appropriated materials weave a kinetic spell of motion and vitality. Learned in the tradition of Eisenstein, Genet, Anger and Jarman, these films range from tender, magical and melancholy love poems to sarcastic comments on gender entrapment in classic-era Hollywood.
This first video edition assembles Matthias Muller's most prominent collaborations with composer and musician Dirk Schaefer until now.

Bill Morrison: 8 Films-USA
Night Highway 1+3, 1990 b/w 7’ -music by John Moran
Lost Avenues, 1991 color 6’ - music by Zoar
Footprints, 1992 b/w & color 6’ - music by Jim Farmer
Photo Op, 1992 b/w 5’ - opera by Conrad Cummings and James Sienna
The Death Train, 1993 b/w 17’ - music by John Moran
The World is Round, 1994 b/w 5’ - music by Jim Farmer
Nemo, 1995 b/w 5’ - music by Zoar
The Film of Her, 1996 b/w 12’ -music by Bill Frisell and Henryk Gørecki

Morrison's shorts are violently beautiful morsels, full of ghostly imagery that's subjected to solarizing, optical printing and other textural manipulations until they resemble the fluid pictures on the insides of eyelids, but writ large and poetical. Whales, trains, movie projectors and the lines on highways are thus transformed into stunning, hypnotic ruminations on history and memory, fate and human intervention. - Los Angeles Weekly, April 2, 1998.

Maya Deren,
Meshes of the Afternoon 1943, music by Teiji Ito, 1959, b/w, 15'
At Land 1944, silent, b/w, 16' With Deren, Hammid, Hella Heyman, John Cage.
Ritual Transfigured Time 1945-46, silent, b/w, 16' With Deren, Rita Christiani, Frank Westbrook, Anaïs Nin.

'My purpose is to make an experimental motion picture(the physical scope of which is subject to material conditions) in which I will attempt to develop a cinematic art form, originating in the creative potentialities of the movie camera itself, and freed from the influence of other artistic idioms, such as literature, theater, the plastic and pictorial arts." - Maya Deren, 1944

Zeina Maasri’s guests from Lebanon

Crazy of You [Majnounak], Akram Zaatari, 26 min, 1997,Lib

Set in the industrial suburbs of Beirut, Majnounak portrays three young men who openly recount the beginning, middle and end of a sexual encounter. Through careful look at the shaping of the body, sexual language, songs, fantasies, T.V and video game stereotypes, this polemical video explores concepts of the "masculine." The image they want to project of themselves in front of the camera is the one of being "courageous, seductive." In such a context, desire is transformed into a commodity, thereby generating a complex discourse on sexuality and gender relations.

Cinema Fouad, Mohamad Soueid, 40 min, 1993, Lib

A documentary on the life and ambitions of a young Syrian
cross-dresser,living in Beirut. The video follows her journey from soldier to cabaret dancer in an effort to raise funds for her sex change operation. Shot in Beirut, Cinema Fouad uses cinema very simple format and techniques but weaves a complex story of sexuality, identity, and desire.

Behind the Veil,Rania Daouk, 4 min, 1999, Lib

This project goes behind the veil, to expose and explore the female body.The veil is contemplated as the layer that comes between the female body and the outside world. The skin from the body becomes the textile or clothing, therefore the actual layer on the body. Two spaces are defined, the private and the public. Then two representations of the female body are set in these spaces, the naked body and the public sign.Fusion between the two forms of representation allows the body to move from one space to another crossing spatial, sexual and physical boundaries. From this point female representations proliferate exposing different degrees of revealment and concealment, flexibility and immobility, neutrality and sexuality. Hence, new meanings are added to the body and to the spacearound it.By moving between spaces and their 'inbetweeness', the body is on an endless quest of self exploration.

Power, Salla Tykkä, 1999, 4 min 47''

"Power" is a film work that presents a fight. Two persons are boxing. They are the artist Salla Tykkä, young woman without a skirt, and a big man, Ilkka Sariola.
The beautiful black and white film and the timeless space make the atmosphere dream like though the hard action and sounds refer to real life and pain.
"Power" is a statement against the power relations in our society but it can be seen as a symbolic battle for life and surveying through it.

thanks to Re:Voir
for Mathias Müller, Martin Arnold, Maya Deren, Bill Morrison 's tapes