Not exact matches
A teen girl receives several mind -
body scans that involve simulations that are hallucinations provided by computer programming supplied through cables attached to the girl's back; we see screens in the air that show
images of her brain and nervous system as the girl sees the ghost of her dead mother screaming among flames in a building
with flaming windows as the building uproots itself and slowly flies through the air; the girl grabs cables, falls, runs across buildings as the flying building crashes into a skyscraper and chunks of concrete fall and fill the screen
until she speaks
with the ghost and the simulation ends.
, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street
until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed
with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his
body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space
with filmic space, evolving into complex amalgam of narrative strategies, photographic
images, music and spoken language.
The works include reenactments of Vito Acconci's Seedbed (1972), in which the artist occupied the space under a false floor, masturbating and speaking through a microphone to visitors above; Valie Export's Action Pants: Genital Panic (1969) in which Export walked through a movie theater in crotchless pants, challenging the audience to turn from the
images of women on the screen to a real female
body; and Abramovic's own Lips of Thomas (1975), in which she ate a kilogram of honey and drank a liter of red wine before breaking her glass
with her hand, incising a star in her stomach
with a razor blade, whipping herself
until she «no longer felt pain,» then lying down on an ice cross while a space heater suspended above her caused her to bleed even more profusely.
All three videos extracted
images from an urban or domestic environment, whether it was pulsing lights atop Ponte City intercut
with a haiku - type poem, a domestic heater slowing glowing red and fading, or a
body of water shot from an increasing distance
until it came to resemble television static.