Video Home System

The Wind Sleeps Standing Up parallels the degradation of memory, to the degradation of the digital image. Using autobiography and various narrative devices this video is part of a series of explorations into absurdism.

Date palms imported and cultivated decades ago flourish in the Coachella Valley in Southern California. A cacophony of voices from across generations reflect on the shifting landscape of the region; some remember the first few acres that were planted, while others enjoy the luxuries of new golf courses. Feet in Water, Head on Fire is a sensorially vibrant 16mm experience that takes us on a journey of past, present, and future. Director Terra Long hand-processed the footage utilizing leftover dates and native plants intertwining the environment into the fabric of the film. Through complex and nuanced scenes, non-sync interviews blossom into a wonderfully gentle but memorable portrait of a community in flux.

Bugs and Beasts Before the Law explores the history and legacy of the “animal trials” that took place in medieval Europe, in which animals—and other non-humans, such as insects and inanimate objects— were put on trial for various crimes and offences, ranging from trespassing and thievery, to assault and murder. This history of colonial law-making forged political and sometimes profane relation- ships between humans and animals. Bambitchell’s essayistic film reimagines common perceptions of legal history and, in doing so, produces a world where past and present, fiction and non-fiction, human and animal fuse.

A hybrid-documentary film that follows a queer Urdu poet as she traces the connections between quantum physics and political movements in South Asia.

In the face of an increasingly individualistic political discourse, this work employs tension as an aesthetic strategy and calls upon the experiences of Tony, an 80 year-old queer elder. In recalling his long life of political activism, it becomes clear that such work requires true intersectionality, solidarity, and collective struggle. Shot on hand-processed 16mm film.

‘Special Works School’ was the codename used by the British War Office between 1917-1919 for a group of artists tasked with the job of ‘camoufleur’ - painters, textile artists, scenographers, designers, sculptors and scenic painters who were employed by the military to work specifically on developing camouflage technology. The artist, armed with the skill of rendering their surroundings with utmost acuity, was appointed to remove things from the realm of perception. Bambitchell’s ’Special Works School’ takes its name from this military unit to investigate the connections between artistic practice and surveillant technologies. With this video, the duo ask what an overtly aesthetic approach to surveillance can render visible, or invisible. By framing surveillance as an aesthetic practice, ‘Special Works School’ hones in on the psychic, embodied and material dimensions of surveillance - both from the position of the surveillor and the surveilled.