Tierra

During the 1980 exhibition of Burden's monumental kinetic sculpture The Big Wheel at Ronald Feldman Fine Arts, New York, Burden and Feldman were interviewed by art critic Willoughby Sharp. Burden articulates the process of creating The Big Wheel, a 6,000-pound, spinning cast-iron flywheel that is initially powered by a motorcycle, and discusses its relation to his earlier performance pieces and sculptural works. Addressing his motivations and the meaning of this potentially dangerous mechanical art object, Burden discusses such topics as the role of the artist in the industrial world, "personal insanity and mass insanity," and "man's propensity towards violence."

"If it Won’t Hold Water, it Surely Won’t Hold a Goat" is an intimate meditation on the subversive nature of goats and their effect on the people who spend time with them. Centered on the story of the legendary Goat Man - a nomadic figure who spent most of his life walking the roads of Georgia with a wagon pulled by a herd of goats - this experimental documentary weaves together an interview with a goat farmer, footage of the daily rituals Johnson enacted with her own herd, and a poem about the Goat Man’s experimental and spectacular life.

the franklinia flower, now extinct in the wild, appears here as a printed image (a drawing from 1782) pinned against a kitchen wall. hand and figure move disjointedly. the light of day gives way to electricity, to darkness, and to morning. recorded on a video camera built in 2002: an obsolete image tracing some accidental gestures and capturing a form of life existent only in cultivation. some fragments of vermeer, general electric, and chiquita brands international.

A wormhole might connect extremely long distances.

Two screens of a graveyard, one during the day and one at night. The duality of everything that exists in the universe.

A field full of sheep is observed through the camera, preserving that moment in time forever.

Travel films have an established format with their own conventions, history and baggage. It is a medium that has all too often sought to control, define and dictate perceptions of ”other” places. Comprised of footage shot while travelling on group excursions across Russia in 2019, An Uncountable Number of Threads is an attempt to draw out the ethical restrictions of a travelogue, while questioning how (and why) to make one. At times there is an awkward tourist-gaze, aware of its outsider position. But as a self-reflexive work that considers its own creation, it ultimately unravels, as the artist rationalises themselves out of a particular way of working, inviting the viewer into their uncertainty.

The work draws an abstract image of a human that has internalized the images and stories of the world of advertising. A woman is sitting in front of a camera telling a story about an experience she had. Even though she is able to describe the events in great detail, the story also seems to be unlikely or implausible.

Set in Munich's petty-bourgeois Westend, film documents life at home with former Fassbinder actor, Warhol collaborator, and horror movie director Ulli Lommel. Rather than a straight documentary portrait of this bohemian household, the camera prefers to follow the narrative impulses of the family members. Lost in serious play, the kids improvise hypnotic death scenes while their mother claims to come from a planet where everything is "ethereal and incorporeal." As parent-child relations are unscripted and re-scripted on the fly, the dilated time of a collective daydream is punctuated by the ordinary sounds of an electric toothbrush, vacuum cleaner, and piano.

Roads fall into the sea and a travelogue breaks against the landscape.

Noise, static, channel change...