Walk-Over

Walk-Over

1973 · 30 min

"A long narrow corridor, leading to the camera—at one side, a window—sun streams in, splotches of light and dark, the corridor shimmers. I'm at the far end—walking back and forth, humming, biding my time. Then I talk to the viewer—rather, to a specific viewer: 'So you're finally there—I've waited for you—you had to be there first.' I walk around the camera, still humming, talking now and then, but waiting till I'm close before I come down hard. I'm close up—only my lips on screen—too close, blurred: 'You want to hear about her—her hair is blonde, your hair could never be like hers—she has her own life, I'm interested in what she's thinking, we could never have had a relationship like this.' I back off, leave 'you' hanging, go back to the other end—but I come back, I don't leave 'you' alone." - Vito Acconci

Directed by Vito Acconci

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1h 53m together

Walk-Over

The Golden Boat

Both from Vito Acconci.

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Journeys from Berlin/1971

Journeys from Berlin/1971 · 1980

Journeys from Berlin/1971

An epic meditation on psychoanalysis, the Baader-Meinhof, feminism, and pre-revolutionary Russia.

The Golden Boat

The Golden Boat · 1991

The Golden Boat

MovieDramaComedy

Inspired in form by American police TV shows and soap operas, The Golden Boat is a madcap, surreal dash through the streets of New York city, telling the mysterious and often hilarious story of an aged street-person named Austin, a comically compulsive assassin, as he joins up with a young rock critic and philosophy student named Israel Williams. In the course of their adventures, Austin pursues his object of desire - a Mexican soap opera star - and along the way engages a host of TV characters and bit players, whose repartee range from gangsterish insults to the question of God's existence.

Run Off

Run Off · 1970

A ten minute super-8mm work from 1970 by Vito Acconci.

Open Book

Open Book · 1974

Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, "I'll accept you, I won't shut down, I won't shut you out.... I'm open to you, I'm open to everything.... This is not a trap, we can go inside, yes, come inside...." Acconci continues to plead in this way for the length of the tape, his mouth held unnaturally wide open. The pathological psychology of such enforced openness betrays a desperate struggle to accept and be accepted by others. The sustained image of Acconci's open mouth also evidences a sinister, vaguely threatening streak that is more or less evident in much of Acconci's work.

Openings

Openings · 1970

Acconci's body-based performances are often willfully provocative in their testing of physical limits and controlled actions. Here, as the camera frames Acconci's stomach in close up, he painstakingly pulls out each hair from the skin around his navel.

Air Time

Air Time · 1973

Super-8mm footage documenting the gallery set-up for Acconci's exhibition AIR-TIME at Sonnabend Gallery in 1973.

Second Hand

Second Hand · 1971

Documentation of an evening of three simultaneous performances (Terry Fox, Dennis Oppenheim, Vito Acconci), in January 1971. In each alcove a light bulb hangs from the ceiling above a canvas that covers the ground. In Acconci's alcove, a clock is hung on the back wall; staring at the second hand, the artist repeats its movement around the light bulb.1971, 2:47 min, color, silent, Super 8mm film on video

Break-Through

Break-Through · 1970

"Super-8 camera held out before him as shield and surrogate, Acconci pushes through a landscape of dense reeds and overgrowth. Break-Through records this search for a pause or clearing in what, for the viewer, amounts to an abstracted and scarcely differentiated visual field." - Electronic Arts Intermix

Two Takes

Acconci oftens performs controlled actions as if he had entered into a contractual agreement to test his physical limitations. In Grass/Mouth, Acconci ingests grass until he chokes; in Hair/Mouth, he fills his mouth with the hair from a woman's head.

Seedbed

Seedbed · 1972

MovieDocumentary

“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)

Face-Off

Face-Off · 1973

Face-Off is an ironic collusion of private and public, of exposure and masking, a tense ritual wherein Acconci divulges and then censors his self-revelations. Acconci turns on a reel-to-reel audiotape recorder and bends down to the speaker to listen to it, his face barely visible in the frame. The audio is a recording of his own voice addressing himself and the viewer, recounting intimate details about his life. However, whenever the material becomes too personal, he tries to drown out his voice and prevent the viewer from hearing, yelling: "No, no, no, don't tell this, don't reveal this...." Reacting to his recorded voice, he becomes increasingly agitated as the tape proceeds.

Digging Piece

Digging Piece · 1970

Standing alone among beach dunes, Acconci begins to kick at the sand below him. Over the course of the film's ten minutes, this repeated action displaces sand at a steady rate: as the artist sinks lower into the hole he creates, the mound of sand before him grows in correspondence.

Corrections

Corrections · 1970

"Unavailable until recently, Corrections is Acconci's first single-channel video. Back to the camera, with only his head and bare shoulders visible, Acconci lights a match and brings it around to the nape of his neck. The lights dim as the flame nears his body hair, which briefly flares in the darkness, at which point Acconci shakes out the match. This action is repeated for the duration of the piece. Corrections introduces themes that typify Acconci's body-based performance work of the 1970's." - Electronic Arts Intermix

Association Area

Association Area · 1971

Association Area

MovieDocumentary

This early performance tape is an example of what Acconci has termed his "quasi-ESP exercises," in which he explores mental concentration and intuition as a means of non-visual and non-verbal perception, interaction and communication. Blindfolded and wearing earplugs, Acconci and another man attempt to intuit and imitate each other's movements and bearing, though they can neither hear nor see.

Applications

Applications · 1970

A woman kisses Acconci's body, covering him in red lipstick traces. Acconci then rubs his body against another man (Dennis Oppenheim), transferring the stains onto him.

See Through

See Through · 1970

"Acconci spars with his close-up image in a mirror. He then breaks the mirror, destroying his image." - Electronic Arts Intermix

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