Connecticut Papoose

Connecticut Papoose

1981 · 50 min

CONNECTICUT PAPOOSE is conceived a surrealist tract, with references to Lautremont, Tristan Tzara, Andre Breton and to surrealist images of sleeping and dreaming. Throughout the tape, unrelated images and ideas are juxtaposed as they might be in a surrealist painting by Magritte. The voice over operates as a kind of stream of consciousness guide through the underworld labyrinth of the human mind (with all its vicissitudes). Lines from poets are combined with skewed observations on contemporary culture. Performances of musical and artistic content coccur within abnormal contexts. Images and sounds themselves also distorted and manipulated by electronic processes to produce a distancing and alienation from reality.

Directed by Ernest Gusella

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Ernest Gusella

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The Commission

The Commission · 1983

This work is Woody's first entry into the narrative sphere, whereby the "story" is continually undermined with the aid of various anti-narrative strategies: In each of the eleven segments of this "electronic opera", different effects are used. Fascinated with the remarkable personality of infamous violinist Niccola Paganini and his complicated relationship to Hector Berlioz (played by artists Ernie Gusella and Robert Ashley, respectively), the author meditates over the intricacies of artistic geniality as connected not only with fame but also with the necessity of painful survival under the pressures of the art market.

Facial Treatments #2 and #4

Facial Treatments #2 and #4 · 1977

Facial Treatments #2 and #4

Video art by Ernest Gusella made between 1975 and 1980

Playing Catch and Playing Catch Again

Playing Catch and Playing Catch Again · 1974

Playing Catch and Playing Catch Again

Two early experiments from Ernest Gusella.

Art Punks

Art Punks · 1978

Art Punks is a song directly attacking the antics of famous conceptual body artists of the day.

What Under the Sun?

What Under the Sun? · 1984

What Under the Sun?

What Under The Sun? is a private view of Mexico and it's history up to the present, loosely based on Bernal Diaz's account of Cortez's Conquest of the Aztecs. The work was initiated by a desire to apply electronic stream of consciousness techniques, as utilized in previous works, to a more specific topic, in this case Mexican history. The work is composed of six chapters, each conveying some aspect of Mexico's history or its psyche.

Exquisite Corpse

Exquisite Corpse · 1978

Exquisite Corpse

The "exquisite corpse" named in the title of this piece refers to a favorite game of the Surrealists, played by passing a folded sheet of paper among a group; each person draws one section of a body on the folded segment without looking at the other sides. What was done with pen and paper, Gusella accomplishes electronically using the VideoLab. Utilizing quick, voltage-controlled live switching between two cameras, Gusella approximates composite images. For examples, his torso appears to combine with a close-up of his face. The perceptual effect is mesmerizing and disorienting.

No Commercial Potential (Collected Works 1974 - 1978)

No Commercial Potential (Collected Works 1974 - 1978) · 1978

No Commercial Potential (Collected Works 1974 - 1978)

No Commercial Potential is composed of 19 separate video performance works. Each piece utilizes some aspect of video processing; From the playful to the aggressive, Gusella's early works in the medium are notable. The sounds are both natural (zoom lens being manipulated in 'Wolfzooming') and electronic, or a combination of both, as in the hypnotic 'Neo Plastic Key'.

Iris

An example of Gusella's impressive switch edits; A disarming rhythm is produced.

Bending Diogenes

Bending Diogenes · 1983

Bending Diogenes

Bending Diogenes is a lamentation on modern "siphilization," with its promises and dreams for a bigger and better life. It questions modern man's motives and conditions, while introducing the teachings of Diogenes, the founder of the Cynic School of Philosophy, of ancient Greece.

Dude Defending A Stare-Case

Dude Defending A Stare-Case · 1974

Dude Defending A Stare-Case

A feedback homage to the works of Duchamp.

Wolf-Zooming

Wolf-Zooming · 1974

Repeating, erratic zooms on Gusella's face.

Vere D'he Go?

Vere D'he Go? · 1978

A playful reference to vertigo in the title Vere d’he Go Composition announces a more vigorous attempt at spatial disorientation using again the striped sticks and now vertical wipes.

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