Screens Series Online

Through the end of 2020, we present selected videos by artists featured in our program online.

Cover Image:

Dynasty Handbag, Vat Do You Vahnt for Bwekfas?, 2017 (still). Video, sound, color; 2:39 min. Courtesy the artist

In 2016, the New Museum inaugurated a platform for the presentation of new video works by emerging contemporary artists titled Screens Series. Encompassing a combination of screenings in the New Museum theater and on monitors on the Lower Level, the series has presented artists working with a range of media—from 16mm film to computer-generated imagery (CGI). When the Museum closed in March due to heightened concerns around the spread of COVID-19, we featured selected videos by Screens Series artists online, bringing art to the public at home. We also expanded the series to include other single-channel videos by artists who have exhibited at the New Museum in the past several years.

Kaari Upson, In Search of the Perfect Double, 2017 (still). Video, color, sound; 36:18 min. Courtesy the artist, Massimo De Carlo, Sprüth Magers, and White Cube.

Kaari Upson, In Search of the Perfect Double, 2017
From “Kaari Upson: Good thing you are not alone”
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Wong Ping, Screen Shaver, 2014 (video still). Single-channel animation, sound, color; 2 min. Courtesy the artist, Tanya Bonakdar Gallery, New York / Los Angeles and Edouard Malingue Gallery, Hong Kong / Shanghai.

Wong Ping, Screen Shaver, 2014
From “2018 New Museum Triennial: Songs for Sabotage.”
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Jessica Wilson, Smile Driver, 2019 (still). Computer generated animation; 7:56 min. Courtesy the artist and PAGE (NYC.)

Jessica Wilson, Smile Driver, 2019
From “Screens Series: Jessica Wilson.”
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Evi Kalogiropoulou, Neighbours, 2018 (still). Single-channel video, color, sound; 7 min. Courtesy the artist and The Breeder, Athens.

Evi Kalogiropoulou, Neighbours, 2018
From “Same River Twice.”
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Laure Prouvost, How To Make Money Religiously, 2014 (video still). Single-channel video, sound, color; 8 min 43 sec. Courtesy the artist and Galerie Nathalie Obadia (Paris and Brussels), carlier | gebauer (Berlin and Madrid) and Lisson Gallery (London, New York, and Shanghai)

Laure Prouvost, How To Make Money Religiously, 2014
From “For Forgetting.”
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Nathalie Djurberg and Hans Berg, Dark Side of the Moon, 2017 (still). Stop motion animation, color, sound; 6:40 min. Courtesy the artists, Tanya Bonakdar Gallery, New York / Los Angeles, Lisson Gallery, London / Shanghai and Gio Marconi, Milan.

Nathalie Djurberg and Hans Berg, Dark Side of the Moon, 2017
From “The Parade: Nathalie Djurberg with music by Hans Berg.”
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Jonathas de Andrade, O peixe [The Fish], 2016 (still). 16mm film transferred to 2K video, 5.1 sound, color; 38 min. Courtesy Alexander and Bonin, New York, and Galeria Vermelho, São Paulo. Produced by Desvia and the Wexner Center for the Arts with support from the Pernambuco Cultural Incentive Fund

Jonathas de Andrade, O peixe [The Fish], 2016
From “Jonathas de Andrade: O Peixe.”
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Nathaniel Mellors, The Sophisticated Neanderthal Interview, 2014 (still). 35mm film transferred to HD video, sound, color; 23 min 19 sec; Courtesy the artist and The Box, Los Angeles.

Nathaniel Mellors, The Sophisticated Neanderthal Interview, 2014
From “Nathaniel Mellors: Progressive Rocks.”
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Hiwa K, Pre-Image (Blind as the Mother Tongue), 2017 (still). Digital video, sound, color; 17:40 min. Courtesy the artist; KOW, Berlin; and prometeogallery di Ida Pisani, Milan/Lucca.

Hiwa K, Pre-Image (Blind as the Mother Tongue), 2017
From “Hiwa K: Blind as the Mother Tongue.”
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Manolis D. Lemos, dusk and dawn look just the same (riot tourism), 2017 (still). Single-channel video, sound, color; 3 min. Courtesy the artist and CAN Christina Androulidaki Gallery, Athens.

Manolis D. Lemos, dusk and dawn look just the same (riot tourism), 2017
From “2018 Triennial: Songs for Sabotage.”
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Mariah Garnett, Encounters I May Or May Not Have Had With Peter Berlin, 2010 (still). 16 mm film installation, sound, color; 14 min 14 sec. Courtesy Commonwealth and Council, Los Angeles.

Mariah Garnett, Encounters I May Or May Not Have Had With Peter Berlin, 2010
From ““Trigger: Gender as a Tool and a Weapon.”
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Cheng Ran, _The Homing Pigeon), 2015 (still). Single-channel video, sound, color; 5 min 54 sec. Courtesy the artist.

Cheng Ran, The Homing Pigeon, 2015
From “Cheng Ran: Diary of a Madman.”
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House of LaDosha, Opening Sequence, 2015 (still). Video, sound, color; 30 sec. Courtesy the artists

House of LaDosha, Opening Sequence, 2015
From “Trigger: Gender as a Tool and a Weapon.”
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Agnieszka Polska, My Little Planet, 2016 (still). HD video, sound, color; 7:58 min. Courtesy the artist, Overduin & Co., Los Angeles

Agnieszka Polska, My Little Planet, 2016
From “Screens Series: Agnieszka Polska.”
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Artor Jesus Inkerö, BUBBLE, (2017) (still). Full HD video, sound, color; 18:22 min. Music: KOI. Courtesy the artist

Artor Jesus Inkerö, BUBBLE, 2017
From “Screens Series: Artor Jesus Inkerö.”
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Fern Silva, Ride Like Lightning, Crash Like Thunder, (2017) (still). 16mm/DCP, color, sound; 8 min. Courtesy the artist

Fern Silva,Ride Like Lightning, Crash Like Thunder, 2017
From “Screens Series: Fern Silva.”
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Eva Papamargariti, Factitious Imprints (2016) (still). HD video, color, sound; 9:17 min. Courtesy the artist

Eva Papamargariti,Factitious Imprints, 2016
From “Screens Series: Eva Papamargariti.”
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Rodrigo Valenzuela, Diamond Box (2013) (still). HD digital video, sound, color; 4:16 min. Courtesy the artist and Upfor Gallery

Rodrigo Valenzuela,Diamond Box, 2013
From “Screens Series: Rodrigo Valenzuela.”
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Gregory Kalliche, The Greatest Arrogance, 2016. Single-channel HD anamorphic video with sound; 3:23 min. Courtesy the artist

Gregory Kalliche,The Greatest Arrogance, 2016
From “Screens Series: Gregory Kalliche.”
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Ahaad Alamoudi, NIUN, 2018. HD video, sound, color; 7:03 min. In collaboration with Michael Mogensen. Courtesy the artist and Athr Gallery, Jeddah.

Ahaad Alamoudi,NIUN, 2018
From “Screens Series: Ahaad Alamoudi.”
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Naufus Ramírez-Figueroa, The Print of Sleep, 2016. Performance documentation, color, sound; 15 min. Courtesy the artist; Mendes Wood DM; Proyectos Ultravioleta, Guatemala City; and Sies + Höke, Dusseldorf.

Naufus Ramírez-Figueroa,The Print of Sleep, 2016
From “Screens Series: Naufus Ramírez-Figueroa.”
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Heather Phillipson, TRUE TO SIZE, 2016. One part of a seven-part HD video, sound, color; 1:57 min. Commissioned by Arts Council Collection, UK. Courtesy the artist.

Heather Phillipson,TRUE TO SIZE, 2016
From “Screens Series: Heather Phillipson.”
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Dynasty Handbag, Vat Do You Vahnt for Bwekfas?, 2017 (still). Video, sound, color; 2:39 min. Courtesy the artist

Dynasty Handbag, Vat Do You Vahnt for Bwekfas?, 2017
From “Screens Series: Dynasty Handbag.”
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Sara Magenheimer, Art and Theft (2017) (still). HD video, color, sound; 7:22 min. Courtesy the artist

Sara Magenheimer, Art and Theft, 2017
From “Screens Series: Sara Magenheimer.”
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Virginia Lee Montgomery, CUT COPY SPHINX, 2018 (still). 4K digital video, sound, color; 3:30 min. Courtesy the artist.

Virginia Lee Montgomery, CUT COPY SPHINX, 2018
From “Screens Series: Virginia Lee Montgomery.”
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Helene Nymann, MOL (2017) (still). HD video, sound, color; 11:20 min. Courtesy the artist

Helene Nymann, MOL, 2017
From “Screens Series: Helene Nymann.”
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Luiz Roque, Zero, 2019. HD video, sound, color; 5:30 min. Courtesy the artist and Mendes Wood DM

Luiz Roque, Zero, 2019
From “Screens Series: Luiz Roque.”
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Kate Cooper, Infection Drivers, 2019 (still). Video, sound, color; 7:29 min. Courtesy the artist

Kate Cooper, Infection Drivers, 2019
From “Screens Series: Kate Cooper.”
April 29, 2020–October 9, 2020.

Randa Maroufi, Le ParK, 2015 (still.) Single-channel video, sound, color; 14 min. Production by Le Fresnoy. Courtesy the artist

Randa Maroufi, Le ParK, 2015
From “Screens Series: Randa Maroufi.”
April 7, 2020–October 9, 2020.

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