Mary Helena Clark Trailers
Towards the Death of Cinema Trailer
Mary Helena Clark is an artist working across film, video, and installation. Her work has been exhibited at MIT List Visual Arts Center, ICA London, Museum of Contemporary Art Detroit, Künstlerhaus Stuttgart, the 2017 Whitney Biennial, and major film festivals like Rotterdam, New York, Hong Kong, Toronto and the Viennale.
Most Popular Mary Helena Clark Trailers
Total trailers found: 21
20 January 2023
An interconnected look at tradition, colonialism, property, faith, and science, as seen through labor practices that link an endangered salamander, mass-produced apples, and the evolving fields of genomics and machine learning.
01 August 2008
A visual essay about the progressive tradition of the United States as seen through grave markers and monuments.
25 January 2024
The title piece is a two-channel video centered on the mouth – as a tool to bite and chew, as an instrument of speech, and as a site of disgust and desire.
05 September 2014
Diaristic but also generously expansive, Mary-Helena Clark's disarmingly raw and beautiful The Dragon is the Frame proceeds like an experimental detective film, exploring the enigma of depression in its subtle interplay between presence and absence.
30 September 2022
Pivoting between two stories of women and their relationships with objects—a Swedish woman’s marriage to the Berlin Wall, and a suffragette’s hatcheting of Velásquez’s The Toilet of Venus—Mary Helena Clark’s Exhibition is a maze-like tour through images and artifacts, a dense cryptography of the forms and objects that hold us in.
31 May 2014
Individual film frames document cycles of destruction, resilience, and transformation within the Bay Area.
15 May 2012
“Using footage from Cocteau’s Orphée, Clark optically prints an interstitial space where the ghosts of cinema lurk beyond and within the frames.
23 January 2008
Scraps of text gathered from molding filmstrips and peeling chalkboards are photographed and intercut with pinhole shots from a schoolhouse.
25 March 2017
By testing the limits of identification with the camera’s point of view, Delphi Falls cycles through multiple subjectivities.
01 January 2008
“Henry James had his figure in the carpet, Da Vinci found faces on the wall. Within this Baltimore wallpaper: a floral forest of hidden depth and concealment, the hues and fragrance of another era.
01 December 2020
A walk through corridors and rooms culminates in a familial Reiki session – what’s underneath and within.
13 September 2015
Musical and mysterious, Mary Helena Clark’s Palms is a modular, sphinx-like film in four parts, comprised of two hands animating stillness, the repeated approach of headlights, a back-and-forth tennis match, and thoughts that emerge like objects.
01 January 2014
We ape naturalism.
01 January 2011
A walk through the proscenium wings. You close your eyes and suddenly it is dark.
01 September 2020
In day-for-night blue and hunting camera night vision, darkness is replicated and punctured. Looking finds bodies in the dark, at the threshold of intimacy and trespass.
01 January 2010
Experimental short about a man and some trees.
01 June 2012
A spy film, built on the bad geometry of point-of-view shots.
16 May 2018
In this elliptical audiovisual diary, cinema’s extrasensory capacity is given surprising form. Here, what we see (the human throat, Gothic statuary, digitally generated furniture) often contradicts what we hear (birdsong, tightly wound rope, lithophonic stones), but the combined effect speaks to a utopian and universal ideal of filmic language.
04 January 2018
For Dreaming the Dark: hands that see, eyes that touch, Ana Vaz invited artists and filmmakers whose work trust cinema’s capacity to transform relationships between the body and the camera to propose works that will engage with both perception and embodiment.
26 October 2010
An impressionist sea ponders the movements of creatures, seeing them in its dreams like dots swimming on its surface, carried along by the waves that slow the immense motion of its waters.
01 January 2024
What are we looking at? We can perhaps discern from the greyscale fuzz, the varying degrees of white patches, fanning out from a point in shapes hard to parse, that this is an ultrasound display.