Three-part series with journalists, academics, and cultural producers covering topics like athletic protest, concussions and health issues, and labor and exploitation.
The film and videomakers amplify fan glee, silliness, and irreverence, and provoke a rival team’s fanbase. These artists celebrate athletes’ rebellious streaks, and admire their disciplined feats of excellence.
“Artists and curators program soccer-related art for gallery spaces—and kick around ideas about politics and power in the process”
The artists in this exhibition draw upon the hidden and political histories of sports to open up analyses of the social world.
A playlist of official and adopted team theme songs, rapping by professional athletes, music made for sports films, and sports-themed pop songs from the past six decades. Musical styles range from choral groups with orchestras, rousing anthems, and advertising jingles, to disco, soul, rock, hip hop, pop, and R&B.
A deconstruction of the athlete body – how it is used for national, political, and social agendas, and how it is viewed and re-crafted by artists.
This year-long series of art exhibitions, film programs, discussions, commissioned projects, and other events took place in galleries, cinemas, sports bars, bookstores, and on rooftops from Los Angeles to Washington, D.C.
The complete archives of the influential underground film network for female filmmakers has been acquired by The Getty and is now viewable online. A selection of videos is available on the Criterion Channel (2020-Present).
This inspirational screening and mini-exhibition catalogues heroes, compresses history, and hallucinates futures.
TROUBLE was created to accompany the exhibition, Richard Kerr’s Industry at La Cinematheque quebecoise.
Utilizing artistic (re)enactment, telepathetic aesthetics, manual animation, performance and a grab bag of low-end high technologies, these videos question traditional representations of (Canadian) identity and gender.
This touring program champions the realities of failure in relation to fantasies of athletic, sexual, and political mastery. Together, the works make for a powerful aesthetic of the undone.
Playfully adapting public space into personal games, these makers look at architecture, videogames, biology, schoolwork, history and even their own memories with fresh eyes and twitchy fingers. Often sincere, sometimes willfully naive, they project a new optimism and the ability to self-amuse and re-imagine.
“What she really wanted to do was blow the minds of viewers with unctuous erotica, politically motivated old school avant-garde retorts, hyperbolic tales, and, well, all the great stuff that hardly anybody shows anymore, much less puts together with loving attention to aesthetic nuance and fertile, thematic collision. Noting that part of her project entails seducing viewers to witness unconventional works, she also helps foment a network of artists and like-minded exhibitors.”
“At age twenty-four, Astria Suparak has already invented an unstoppable experimental film enterprise. As curator-on-wheels, she is aggressively building sexy niches for visceral and demanding new films and videos by cutting edge artists from around the world, who may seem freaky or misplaced in traditional art or film world contexts.”
These audios + videos are forcibly lonely and nihilistically sweet. They’ll pin you down and slowly drip spit on you, whether you’re practicing crossovers on a suburban driveway or pile-drivers in a backyard wrestling ring. I’ve got the moves if you’ve got the skills (together we could make a great team).
With an irreverence for punk rockers, adults like parents and politicians, non-adults like breasts and babies, and people we generally approve of such as artists and scientists, these works reveal that posers are sometimes better than the real thing.
“A l’avant-garde de cette scène bouillonnante s’imposent des figures hybrides, comme la jeune et jolie Astria Suparak. Pour les programmes de courts métrages ou de vidéos qu’elle choisit et assemble, la New-Yorkaise de Brooklyn va chercher le public là où il se trouve, dans les musées ou dans les clubs, les cafés ou les discothèques.”
“At age twenty-four Astria has curated all over the U.S. and Europe, testing out new programs at NY’s best venues and then touring with them like a kid with a band. She comes to you: museums and galleries, universities, independent/underground film festivals and micro-cinemas, as well as public places like bars, community centers, and living rooms.” – Miranda July
These works are brazenly aware of their own representation, those fake gestures symbolizing love, and the self-proclaimed identity of Art. On the other hand, this is a Science Fair. We’re interested in breeding and practicing our (dance) moves until perfection is reached, and by golly you’re either with us or against us. Young people, always forward!