The video is part of a series of works using scientific imaging (cosmological hydrodynamics coding) of dark matter (invisible mass), combined with stock-cosmic fictions and seductive digital materializations. It stages a dialogue between the San Diego Super Computer Center ENZO Visualization Service and an alluring image of dark matter.
In the collage video Remote, dream logic invokes a presence that drifts through physical and temporal barriers. There is a presence lingering in the dark woods, just under the surface of a placid lake and at the end of dreary basement corridor.
During a performance at De Appel, Anderson is sitting in an easy chair, or rather: an image of the artist is projected onto the chair. She is telling an anecdote about a session with her psychiatrist. Anderson eventually comes to the conclusion that she and the psychiatrist see things from a totally different angle, both literally and figuratively. From then on, visiting the psychiatrist becomes superfluous.
Workers Leaving the GooglePlex investigates a top secret, marginalized class of workers at Google’s international corporate headquarters in Silicon Valley. As I documented the mysterious yellow badged “ScanOps” Google workers, I simultaneously chronicled the complex events surrounding my own dismissal from the company.
This rhythmic process, accompanied by a musical accelerando and crescendo, races over the landscape at an increasingly fast pace, covering it with increasingly dense abstract patterns. This is beautiful to watch and, in light of the title, also sad.
The subject of the film is the distribution of workers‘ lodgings. The right of domicile given to Safer Korlatovic, explosives expert in a salt mine, is a sufficient motive to make out of an everyday moment a poetic document. Short but subtile human pleasures are recorded, even in those moments which the main figures are not concious of.
“In her brilliant video Art Herstory, [Freed] has restaged art history, putting herself in the model’s role in numerous paintings.... Time dissolves under her humorous assault—one moment in the painting, then out of the canvas and into that period, then back in the studio." — Jonathan Price, Video Art: a Medium Discovering Itself, Art News 76 (January 1977)