Director
The Surrealist, "Exquisite Corpse" was a French Café parlor game. "Exquisite Moving Corpse" is more of an artist chain letter. 60 artists participated over a two-year period, beginning in March 2020. Each invited artist made a one minute video in response to the last frame of the previous minute.
Editor
The Political Advertisement project began in 1984, when New York-based media artists Muntadas and Reese produced their first compilation of American presidential commercials, beginning with Eisenhower in the 1950s. Every four years since — aligned to the national election cycle — they’ve updated the collection to reflect the current moment, presenting the clips in chronological order, with no voice-over editorializing, a tour-de-force of witty and incisive editing. Consisting of rare as well as notorious footage, Political Advertisement argues for television’s enormous importance in selling the presidency — a force that transforms citizens into consumers, and the presidency into the ultimate product.
Director
The Political Advertisement project began in 1984, when New York-based media artists Muntadas and Reese produced their first compilation of American presidential commercials, beginning with Eisenhower in the 1950s. Every four years since — aligned to the national election cycle — they’ve updated the collection to reflect the current moment, presenting the clips in chronological order, with no voice-over editorializing, a tour-de-force of witty and incisive editing. Consisting of rare as well as notorious footage, Political Advertisement argues for television’s enormous importance in selling the presidency — a force that transforms citizens into consumers, and the presidency into the ultimate product.
Director
An homage to the city of Venice—a nighttime boat ride through the hidden, the unknown, the mysterious—inspired by the Situationists’ theory of the dérive.
Director
In a collision of media images and images of the media, Muntadas fuses films, video and television as a hall of mirrors that reflects contemporary culture. Seen in close-up fragments, television and video images from cinematic sources — Poltergeist, Videodrome, Network, The Candidate — and video art tapes are rendered as illegible, abstracted fields. Against this ground of scanlines and shadowy images, a series of isolated words — "manipulation," "context," "audience," "fragment" — comprise an index of the tactics of the television apparatus, as well as Muntadas' (video's) reflexive strategies of critiquing the media. As Glenn Branca's tense musical score accelerates to a climax, the final video image, which depicts television sets in a consumer display, fragments and disintegrates.
