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Published: 01 March 2013
Figure 3 Claudia Hart, The Seasons: Video Object , 2009. QuickTime video, 720 × 1280 pixels, with stereo sound by Claudia Hart, 10 min. Courtesy the artist and bitforms gallery, New York
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Journal Article
Cultural Politics (2014) 10 (1): 21–39.
Published: 01 March 2014
.... According to the New York Times , “The crowd-sourced global diary, a new kind of documentary in which thousands of videos shot around the world at the same time are assembled into a concise chronicle of a day in the life of the planet, is an astonishing technological and organizational achievement...
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in Collective Crafting in Post-Suharto Indonesia: A Journey with Ruangrupa from the Jakarta Institute of the Arts to Documenta Fifteen in Kassel
> Cultural Politics
Published: 01 November 2022
Figure 20 Reza Afisina, Estar Flotante Vida Mia, JakArt@2001, Jakarta. 2001, video still.
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in Collective Crafting in Post-Suharto Indonesia: A Journey with Ruangrupa from the Jakarta Institute of the Arts to Documenta Fifteen in Kassel
> Cultural Politics
Published: 01 November 2022
Figure 21 Reza Afisina, Estar Flotante Vida Mia, JakArt@2001, Jakarta. 2001, video still.
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in Not / A: Fragments of History, Memories, and (Geo)Politics in the Works of Green Zeng
> Cultural Politics
Published: 01 November 2022
Figures 5–7 Mirrors within Mirrors (left) is a video installation first exhibited at Chan + Hori Contemporary (Singapore) in 2018. It is the first stage of a larger work in progress and is inspired by Akira Kurosawa's Rashomon. It employs a multiple-narrative structure that provides
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in The Production of Wounded Attachment: Reactionary Sentiment in Post-2016 Turkey
> Cultural Politics
Published: 01 July 2024
Figures 1–2 Stills from the video released by the office of the Turkish Council of Exporters. In order of appearance, a shady man giving the order to attack Turkish currency; the Turkish lira nervously blinking.
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Published: 01 July 2008
Figure 6 Digital still from “simulator/realtime” video work by Gair Dunlop. Footage made in the simulator was paired with its nonvirtual equivalent and projected in a cinematic space.
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Published: 01 March 2017
Figure 1 A Brief History of Collapses , film still, 2 channel HD video with 7.1 channel sound, RT 22:30, dimensions variable, 2011–12. Courtesy of the artist and Ryan Lee, New York
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Published: 01 March 2017
Figure 2 A Brief History of Collapses , 2 channel HD video with 7.1 channel sound, RT 22:30, dimensions variable, 2011–12. Installation view at dOCUMENTA (13), Kassel, Germany (Photo: Roman März). Courtesy of the artist and Ryan Lee, New York
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Published: 01 March 2017
Figure 3 A Brief History of Collapses , film still, 2 channel HD video with 7.1 channel sound, RT 22:30, dimensions variable, 2011–12. Courtesy of the artist and Ryan Lee, New York
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Published: 01 November 2013
Figure 12 Multichannel video installation by CAMP (Collaboration around Micro Politics), an artists' collective from Mumbai, at Pepper House. The videos record the imports and exports at the local port harbor in Kochi, documenting the work cycles and repetitive labor of one of the main historic
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in When the Periphery Laughs: Humor and Locality in Contemporary Art from Greece and Bosnia and Herzegovina
> Cultural Politics
Published: 01 July 2019
Figure 2 Stefanos Tsivopoulos, The Lost Monument , 2009. High-definition video, 27 min. Courtesy the artist.
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Journal Article
Cultural Politics (2012) 8 (1): 97–119.
Published: 01 March 2012
...William Merrin This critical reflection on the work of the Raindance Corporation and Michael Shamberg and their manifesto, Guerrilla Television (1971), considers their video activism as a precursor to both YouTube and contemporary “participatory culture” and offers an important critique...
Journal Article
Cultural Politics (2018) 14 (3): 289–303.
Published: 01 November 2018
...Bart Simon; Darren Wershler This article considers Minecraft , one of the most widely played and popular video games of all time, with over 100 million copies sold. Minecraft is an open-ended strategy game about material logistics, governance, and world building. It is also about a nostalgic...
Journal Article
Cultural Politics (2024) 20 (1): 60–74.
Published: 01 March 2024
.... The child's toy and media environment is playfully zoomorphic, populated with artificial animals, from toys and stories to virtual pets and video-game characters, a new simulacral and postnatural trajectory in the descendance of the artificial animal and its playful and play-like behaviors. s.giddings...
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Journal Article
Cultural Politics (2024) 20 (1): 23–44.
Published: 01 March 2024
... sports and management-based video games mirrored financial markets in transforming athletes and leagues into derivatives, that is, disaggregated units that could be reassembled in new digital permutations. Each story helps position contemporary online sports betting within a longer historical arc...
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Journal Article
Cultural Politics (2022) 18 (1): 64–78.
Published: 01 March 2022
... the politics of cool intersects with race and gender. The article considers the epistemology of “cool” across different consumer media. The music video, This Is America , it is argued, resists easy classification but expands the concept of and jouissance of ‘cool’ so that violence too becomes a kind...
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Journal Article
Cultural Politics (2015) 11 (2): 163–183.
Published: 01 July 2015
...Deborah Frizzell The Irish artist Richard Mosse’s The Enclave (2013), a six-screen video, photography, and sound installation made over several years in and around Goma, Democratic Republic of Congo, was featured in the Pavilion of Ireland at the Fifty-fifth Venice Biennale and at Jack Shainman...
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Cultural Politics (2020) 16 (2): 147–170.
Published: 01 July 2020
... remonstrance to present-day forms of creatively embodied protest in the era of Occupy. At the same time, though, these workers have also fashioned an aesthetic intervention that is very much of their own devising. This article draws on an empirical base of two dozen suicide shows posted on video-sharing sites...
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Published: 01 July 2019
Figure 1 Cao Fei, My Future Is Not a Dream 05 , 2006. Inkjet print, 120 × 150 cm. Video still from Whose Utopia , 2006. Projected color video with stereo sound, 20 min. Courtesy of the artist.
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