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Barravento Novo depicts correspondences between Antônio Pitanga—a Cinema Novo actor seen here delivering lines from Glauber Rocha’s first feature, Barravento, from 1962—and his daughter, Camila Pitanga, a well-known actor and filmmaker working today.
Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Bunuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film. Steeped in perversions and violent longings, both the Kappa and Oedipus legends are presented in highly stylized, purposefully "degraded" forms, reflecting their media-exploitative cultural contexts. In this ironic yet oddly poignant essay of psychosexual compulsion and catharsis, the Yonemotos demonstrate that even in debased forms, cultural archetypes hold the power to move and manipulate.
A couple's violent argument is repeated three times in this video, first in long shot, then in medium shot, and finally in close shot. As the camera moves in, the sound moves in the opposite direction; from a close perspective to silence. The subject of the argument satirically underscores the role electronic media plays in undermining the basic tenets of romantic relationships.
PANPANORAMA features the famous “kiss” in Alfred Hitchcockʼs VERTIGO. The locations which panoramically circle around the lovers in VERTIGO are replaced with tracking shots from famous scenes in classic films from all over the world. By replacing the locations of the loversʼ desire, the installation underscores the fact that “global cinema” has faded into the background of the Hollywood cinematic desire.
Featuring performances by artists Tony Oursler and Mike Kelley, Garage Sale II moves between a couple’s sexually dysfunctional relationship and a series of vignettes in which characters attempt to fulfil their desires through prosthetics, masturbation, manipulation and S&M.
The sky looms in the background of all human activity. It is elementary then that artists should be preoccupied with a phenomenon whose ageless nature remains elusive and opaque. Bruce and Norman Yonemoto's A History of Clouds (33:46 mins, Color) investigates the representation of clouds as they appear in art, first as amorphic elements in early oil painting, then as photographically reproduced elements of 20th-century works. This premiere videowork ends in the advertising studio where clouds provide a "natural" backdrop for commodified dreams. The journey from representation to sales presentation is complete.
This experimental video, created by Karen Finley and Bruce Yonemoto while artists-in-residence at California’s Montalvo Arts Center, touches on the racism of the Center’s founder, James D. Phelan, and brings the story up to the present. Finley’s performance channels Phelan, one of the biggest proponents of anti-Japanese-immigration laws at the turn of the last century
Spalding Gray comes to LA to perform a set of monologues.
Japan in Paris in L.A. centres on Saeki Yuzo, an early twentieth-century Japanese artist who makes a pilgrimage to Paris to seek his artistic fortunes, only to find that ethnic and cultural differences stand in his way. Around this narrative, the Yonemotos construct a multi-layered and self-reflexive work in which strategies of disjunction and contradiction are key. Employing heightened theatricality, experimental narrative strategies and archival footage, the film proposes a complex meditation on issues of modernity, representation, ethnocentrism and identity.
Framed is presented in a single-channel video using two elements. The first element is the film footage that was found by the artists at the U.S. National Film Archive. These staged films, produced by the War Relocation Authority (WRA), captured a fictional idealized life of Japanese Americans in the American concentration camps during World War II. More than a hundred thousand innocent civilians of Japanese descent were incarcerated solely based on their ancestry. To legitimize the abrogation of civil rights, the WRA produced this wartime propaganda. The second element is the slide show in which the still images reframe the raw material of the WRA films.